Fashion and Apparel

Subterms

    More stories

    • 100 Shares99 Views

      in Elections

      Marc Jacobs’s Latest Fall Collection Is Delightful Delusion

      by

      The designer’s fall collection, inspired by “personal transformation,” was wholly cartoonish.There is a scene in the new documentary “I Am: Celine Dion” in which Ms. Dion describes her dedication to designer heels.“When a girl loves her shoes, she always makes them fit,” the singer said, spreading her fingers to demonstrate how she has contorted her toes to accommodate shoes ranging from size 6 to 10. Asked for her size while shopping, she said, she would respond to sales associates: “What size do you have? I’ll make them work. I’ll make them fit.”It is a feeling well-known to women who relish playing dress-up: determination so great it pushes up against delusion.That was certainly the feeling at Marc Jacobs’s runway show Monday night, held at the New York Public Library. Fashion is determined to be a joyful medium, even or especially when the world seems joyless. And Mr. Jacobs was determined to dress his models like surreal dolls of 20th-century American iconography.A heavy white Marilyn Monroe dress opened the show. Its bodice was oversize, with pointy bra cups and a skirt sculpted in permanent half flight. Marilyn walked in white sandals made to appear about an inch too large in every direction, like a girl insistent on wearing heels from her mother’s closet. (“I walk the shoe, the shoe don’t walk me,” as Ms. Dion would say.)The proportions were a continuation of Mr. Jacobs’s February runway show: big and cartoonish, like a joke we’re all supposed to be in on. Models seemed to be tensing to keep their thick clothes in place, though of course they fit just as Mr. Jacobs intended. Necklines were lifted by invisible fingers off the shoulders of Peter Pan-collar jackets, preppy V-neck sweaters, voluminous floral cocktail dresses. Saccharine bikinis — one in white pointelle, pinned with a photorealistic daisy brooch, and the other in yellow polka dots — swung and jutted off the body.We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

    • 75 Shares149 Views

      in Elections

      Jill Biden Is Vogue’s Cover Star

      by

      During the most challenging period of President Biden’s re-election bid, the first lady appears on the cover of a high-fashion bible.The August cover of Vogue featuring Dr. Jill Biden was released online Monday — four days after the big debate — and brought with it a fresh round of scrutiny over her role as a die-hard campaigner for her husband, who is locked in a nail-biting campaign for re-election.During much of President Biden’s term, the first lady was a figure of minimal controversy. That began to shift when campaign season heated up. Laura Ingraham of Fox News claimed that Dr. Biden was covering up the president’s unfitness out of her own desire for political power and prestige. Sounding the same theme, The Daily Caller, a right-wing website, began referring to her as “Lady Mac-Biden.”Dr. Biden took center stage after Mr. Biden struggled to finish his sentences during a dismal debate performance on Thursday against former President Donald J. Trump. Afterward, The New York Times reported that Dr. Biden was the first person he had turned to: “The first lady’s message to him was clear: They’d been counted out before, she was all in, and he — they — would stay in the race.”On the Vogue cover, Dr. Biden wears a white Ralph Lauren tuxedo dress. She was photographed in the spring by Norman Jean Roy, whose recent contributions to Vogue include portraits of Nicki Minaj, Alicia Keys and the White House press secretary, Karine Jean-Pierre. The accompanying profile of the first lady, by Maya Singer, describes her as a “vision of calm amid utter cacophony.”Dr. Biden has been on the cover of Vogue twice before. Tina Brown, the former editor of Vanity Fair and The New Yorker, noted that an appearance on the Vogue cover is a “rite of passage” for first ladies. Still, Ms. Brown added, the implications of Dr. Biden’s appearance on the cover of a fashion magazine are “always a risk.” And at this moment, the Vogue cover “is not particularly helpful,” she added.Soon after the magazine posted the cover image to its Instagram account on Monday, the comments were overwhelmingly negative. Some were from Trump supporters who took Dr. Biden’s appearance as an opportunity to complain about the fact that Melania Trump had been passed over for a Vogue cover when she was first lady. A number of other critical remarks seemed to come from Democrats, one of whom argued that Dr. Biden was pursuing her and her husband’s own ambitions “at the expense of Americans safety and happiness.”We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

    • 125 Shares189 Views

      in Elections

      Overlooked No More: Otto Lucas, ‘God in the Hat World’

      by

      His designs made it onto the covers of fashion magazines and onto the heads of celebrities like Greta Garbo. His business closed after he died in a plane crash.This article is part of Overlooked, a series of obituaries about remarkable people whose deaths, beginning in 1851, went unreported in The Times.To many fashionable women in the mid-20th century, no hat was worth wearing unless it was made by Otto Lucas.A London-based milliner, Lucas designed chic turbans, berets and cloches, often made from luxe velvets and silks and adorned with flowers or feathers.His designs made it onto the covers of magazines like British Vogue, and onto the heads of clients who reportedly included the actresses Greta Garbo and Gene Tierney, and the Duchesses of Windsor and Kent.The name Otto Lucas was ubiquitous in England, and at the height of his success, he sold thousands of hats each year around the world.The British actress Zena Marshall wearing a hat designed by Lucas.Colaimages/AlamyWe are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

    • 113 Shares99 Views

      in Elections

      How A Fashion Critic Mentally Catalogs Fashion Week Shows

      by

      Theater and dance critics can’t own the subjects they cover, but a fashion critic can — at least imaginarily — by making a hits compilation as the clothes go by.If fashion is a storytelling business, it should follow that runway shows are narratives.Yet they can’t be. For starters, they lack a plot. True, designers can be relied upon to spiel about inspirations, travels or philosophies as a listener’s eyeballs roll back in his head. The truth is that most fashion shows are best consumed, as everything else now is, in fragments. They are elements of an ongoing internal scroll, as continuous, algorithmic and addictive as Instagram reels.That, anyway, is how this critic began viewing the collections in Milan and Paris this season, with the result that the following is best thought of as a mixtape, not anchored to specific nationality or geography or context, random and in some sense impressionistic and probably also solipsistic in the way everything is fundamentally forced to be in an attention economy.Take Hermès. The designer Véronique Nichanian is anything but a household name, probably not even among those in the economic stratosphere this label was created to serve. So what? She’s as consistently fine as — and in many ways better than — other fixtures in the pantheon of men’s wear, people like Giorgio Armani or Helmut Lang. There is a reason you don’t know her.“We don’t do marketing,” Axel Dumas, the Hermès chief executive, said at the company’s show. “We don’t even have a marketing department.”Véronique Nichanian’s jaunty looks for Hermès whispered quiet luxury. Vianney Le Caer/Invision, via Associated PressWhy bother when you are producing jaunty collections for those people whose own initials are enough, as the old Bottega Veneta tagline once held. So-called quiet luxury generally tends to make a racket. Ms. Nichanian’s is a muffled version and whispers wealth.We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

    • 138 Shares139 Views

      in Elections

      Dries Van Noten Retires From Fashion With Final Paris Runway Show

      by

      As the Belgian designer ended his career with one last runway show in Paris, he left a reminder of why his is a storied legacy.“I tried to make things people would cherish,” Dries Van Noten said on Saturday evening, during a cocktail party and dinner preceding his final runway show. Mr. Van Noten held his first show in Paris back in 1991; now, at 66, he is stepping away from his namesake brand. His retirement was a shock to many in a business in which careers tend to be abnormally truncated or else to exceed their expiration date.The decision to retire was not taken lightly, Mr. Van Noten said. Whose is? And it was destined to be a disappointment to fans of this gentle Belgian’s presence on the scene. And they are many. Why? There was his evolved craftsmanship. There was his singular gift as a colorist. There was his ability to skew pattern and tweak silhouette without compromising wearability. Perhaps alone among the designers of the vaunted Antwerp Six group he belonged to, Mr. Van Noten produced, for 150 collections, commercially accessible, cherishable clothes.Fans and designers gathered at a pre-show party in a warehouse on the outskirts of Paris.GORUNWAYA pre-show dinner party of a kind the French term a cocktail dînatoire was held in a warehouse on the outskirts of Paris. Fans from throughout the decades — among them, the designers Pierpaolo Piccioli, Thom Browne, Glenn Martens, Stephen Jones, Harris Reed and Diane von Furstenberg — floated about a vast space as waiters poured Champagne in abundance and circulated with trays bearing tiny bowls of beet soup, white asparagus with poached egg, foie gras and shrimp on skewers.As a waiter passed with a flight of beef tartare snacks, Edward Buchanan, the designer and Milan fashion director of Perfect Magazine, waved them away. Raw beef at parties is iffy, he said.Asked about his relationship to Mr. Van Noten’s designs, Mr. Buchanan told a story. “Two years ago in L.A., all my things were stolen,” he said. For months after the theft, he spent every spare hour obsessively combing the internet for replacements — not of his personal mementos but of his lost Van Notens.We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

    • 150 Shares119 Views

      in Elections

      KidSuper and Cirque du Soleil Join Forces at His Paris Fashion Show

      by

      Tucked away on a side street behind Père-Lachaise, the largest cemetery in Paris and perhaps the most visited necropolis in the world, Colm Dillane, a.k.a. KidSuper, stood at the cyclonic center of a studio strewed with clothes, bags, shoes and props and crammed with models, stylists, photographers, videographers, the designer’s parents and the rapper Lil Tjay. Mr. Dillane looked for all the world like a man whose fashion show was far off in the future, not the following night.“What’s up, what’s good?” Lil Tjay asked Mr. Dillane. The question was rhetorical. Lil Tjay, whose given name is Tione Jayden Merritt, knew the answer before Mr. Dillane opened his mouth.“It’s all cool,” the designer said. Of course it was.While some in fashion prefer to work in semi-clinical settings, surrounded by silent white-smocked assistants, and others in solitude, delegating to distant teams, Mr. Dillane is the embodiment of crowdsourced creativity.We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

    • 63 Shares189 Views

      in Elections

      Virginie Viard Is Leaving Chanel

      by

      Virginie Viard, who replaced Karl Lagerfeld at the French fashion house, spent nearly 30 years at the company.In yet another seismic shift in the fashion world, Chanel announced on Wednesday that Virginie Viard, Karl Lagerfeld’s handpicked successor, was leaving the fashion house after five years as its artistic director — years in which, though her collections received a critical drubbing and speculation was rife about her possible departure, sales exploded, reaching almost $20 billion in 2023.In a brief statement, Chanel, the second largest luxury brand in the world, thanked Ms. Viard for almost 30 years of service, “during which she was able to renew the codes of the house while respecting the creative heritage of Chanel.” No new designer was announced.Ms. Viard, 62, assumed the artistic director role at a precarious moment, following the death of Mr. Lagerfeld, who had led the brand for more than 35 years, in 2019.An unassuming presence who avoided the spotlight, Ms. Viard had worked side by side with Mr. Lagerfeld for decades and been his choice for a successor. He described her as both his left and right arm, and her appointment brought a sense of continuity to a house Mr. Lagerfeld had long dominated.But despite annual revenues rising to $19.7 billion under her tenure — a 16 percent increase over the previous year — Ms. Viard seemed more like a caretaker designer for the storied house than a change agent like her mentor, Mr. Lagerfeld. She toned down the runway theatrics he was known for, but her efforts to make Chanel feel younger often fell flat. Her runway signatures included bow ties, various kinds of shorts and a fondness for 1980s silhouettes.Ms. Viard’s departure comes just one month after Chanel’s cruise show, held on a bleak rainy day in Marseille, with guests including Lily-Rose Depp, Marion Cotillard, Sadie Sink and Tessa Thompson. It also follows a shake-up at Valentino, where the house’s longtime creative director Pierpaolo Piccioli was replaced by the former Gucci designer Alessandro Michele in March, and comes in the wake of rumors that Hedi Slimane will soon be departing his post at Celine.Not surprisingly, almost as soon as Ms. Viard’s departure was announced, speculation began that either Mr. Slimane or Mr. Piccioli might replace her.“A new creative organization will be announced in due course,” a representative for Chanel said in a brief statement.The next Chanel runway show, its couture presentation in Paris in June, will continue as planned. More

    • 88 Shares129 Views

      in Elections

      The 15 Most Unforgettable Looks From Cannes

      by

      The Cannes Festival jury led by Greta Gerwig announced its winners this weekend, including the Palme d’Or for “Anora,” a comedy from the American filmmaker Sean Baker about a sex worker who marries the son of a Russian oligarch. The ceremony concluded 10 full days filled with movies and long ovations, news conferences peppered with politics, a filmmaker’s return, women-led films that caused a stir, a president’s origin story and, of course, canine stars. But the Côte d’Azur’s red carpet proved also to be a bonanza, where stars upped the ante on style, wearing bright swaths of color, statement hats that canceled out the need for any SPF — and baring skin, lots of it. Here, 15 looks worth remembering. Anya Taylor-Joy: Most Flapper!Andre Pain/EPA, via ShutterstockThe star of “Furiosa: A Mad Max Saga” wore an updated flapper style in her Jil Sander skirt suit. The actress mixed a cropped jacket, shag skirt and fringe with a delicate heel and dramatic eyes to pull off an elegant yet understated look.We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More