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    Kamala Harris Wears a Dark Suit and Weary Smile in Concession Speech

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    In her concession speech, Kamala Harris offered an image for a long fight.Kamala Harris speaking at Howard University was to be an image for history: a record of the first female president, not to mention the first Black female president and the first president of South Asian descent, giving her victory speech. Instead, what turned out to be her concession speech became the coda to an unprecedented election; the end of one story, rather than the beginning of another.That did not mean that Ms. Harris was any less a pioneer, or a role model, in the moment. Even if what she was modeling was how to make over the public face of defeat.Standing before the red bricks and the white columns that provide the backdrop for Howard commencements, Ms. Harris wore a businesslike pantsuit in a muddy burgundy that read, through the screen, as almost purple (interpret that as you will). The jacket was buttoned, an American flag pin bright against one lapel, and the pants were cut with a bit of a flare at the calf. With it, she wore her usual pumps, pearl earrings and a satin blouse in the same eggplant shade, complete with a cravat, or ascot-like tie. If there was a telling detail, that was it.The cravat is a cousin of the floppy bow Ms. Harris has often worn at major public occasions — the one that seemed to symbolize both tradition and subversion, men’s wear and a woman’s place, and to acknowledge that despite the fact that she had never put gender at the center of her candidacy, it was there all the same.Ms. Harris paired her suit with a cravat, an accessory that hearkened back to history.Ruth Fremson/The New York TimesIn the context of her concession speech, the cravat hearkened back to history — her own and that of the women and the politicians who came before her — and in that context, it represented, as she said in that speech, the idea that some fights were long. That this one had been going on for decades (even centuries) and would continue afterward. It was, in that way, a symbol of both a promise and a lament.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

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      A Milan Fashion Week Full of Surprising Stranger Things

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      Standout shows from Bally and Bottega Veneta bring Milan Fashion Week to a close. Gucci, Versace and Moschino do some recycling.And thus began the season of the weird. After decades in which clothes that telegraphed sex or stealth wealth dominated the Milanese runways, it’s the stranger things that seem the most on target now.“There’s a feeling that anything could happen, no matter how fantastical,” Matthieu Blazy wrote in his Bottega Veneta show notes, before seating his audience on low-slung leather bean bags in animal shapes — Jacob Elordi plopped down onto a bunny, Michelle Yeoh onto a lady bug. It turned a cavernous warehouse into a fun house and forced every guest to adopt an alternate perspective.“Well, it’s kind of an irrational time,” Simone Bellotti said in something of an understatement backstage after his brilliant Bally show, inspired by the German Dadaist Hugo Ball.Indeed, the most eye-catching appearance of the week was not, as it turned out, Mr. Elordi, or Jin of BTS taking a post-military service front row seat at Gucci, but Cheryl Hines, the actress-wife of Robert F. Kennedy Jr. She showed up at Bally just after the news broke about her husband’s sexting relationship with a political reporter. (Apparently Ms. Hines is friends with the brand’s new owner, Michael Reinstein of the global private equity firm Regent.) And the best casting was not Cavalli’s supermodel reunion but Sunnei’s embrace of 70- and 80-something models in its 10th anniversary meditation on time. As opposed to that old fashion shibboleth, timelessness.Sunnei, spring 2025SunneiYou can either retreat into the safety of the elegant chocolate suit (for that, go to MaxMara), the always-appropriate leather trench (at Tod’s, Matteo Tamburini did it best) or you can take the confounding, bizarro nature of this global moment and turn it into a look. The best shows in Milan did.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

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      Tory Burch, Rachel Scott, and the Female Fashion Figures Making Waves

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      One year ago, when it was announced that Sarah Burton was leaving Alexander McQueen after 26 years (13 as creative director), that she would be replaced by a young guy named Seán McGirr, and that that meant that all of the designers at Kering, the second largest fashion group in the world, would be men, the news caused a rare moment of breast-beating and introspection in the fashion world. Why were all the big jobs going to men? Why did there seem to be so few women designers?Well, on Monday it turned out that Ms. Burton, and her special kind of poetic power-through-tailoring, would be staging a return, when LVMH named her creative director of Givenchy. That happened to be the same day Tory Burch held a show in New York that solidified her position as one of the tent-pole labels of the week. It was the same day Rachel Scott unveiled a Diotima show that confirmed her as one of the most exciting young designers in the city.All three events functioned as a reminder that not only are there women designers — there are great ones. Perhaps it’s time to focus on them. You see interesting things when you do. Ms. Burch being a prime example.For the last few years she has been pushing herself out of the comfort zone of Lee Radziwill-on-vacation caftans and ballet flats on which she made her name, surprising a fashion world that had largely pigeonholed her as a designer of suburban chic. Instead she has made an increasingly convincing case that she is the Claire McCardell of her generation, a legitimate heir to the woman who helped invent American sportswear.This season was no different, the combination of her main lines and Tory Sport, which used to be designed as two separate collections, leading her to … well, a combination of sport and style that seemed particularly apropos in a post-Olympics, post-WFH world.Tory Burch, spring 2025Swipe for More →Tory BurchYuki Iwamura/Agence France-Presse — Getty ImagesSlaven Vlasic/Getty Images For Tory BurchSlaven Vlasic/Getty Images For Tory BurchSlaven Vlasic/Getty Images For Tory BurchSlaven Vlasic/Getty Images For Tory BurchWe 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

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      Spotted at the RNC: Melania Trump, and Many Faux Ear Bandages

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      As the Republican National Convention drew to a close, it painted a red, white and blue picture.On the final night of the Republican convention, just in time for her husband’s official nomination as his party’s presidential candidate, Melania Trump finally took her place by his side — sort of.She was the last Trump family member to make her entrance at Fiserv Forum in Milwaukee, stoking the will-she-or-won’t-she anticipation to the end, arriving well after Ivanka Trump and her husband, Jared Kushner, who have also been largely absent during the campaign; Don Jr. and his fiancée, Kimberly Guilfoyle; Eric Trump and his wife, Lara; and Tiffany Trump and her husband, Michael Boulos. (Barron Trump, Donald Trump’s son with Melania, did not appear, but assorted grandchildren did.)She walked in alone, in a red suit and towering red heels, hair down, bestowing queenly waves on an adoring crowd.Melania Trump enters on the red carpet at the final night of the Republican convention.Doug Mills/The New York TimesIf the suit struck a chord, that may be because it had been seen before. Mrs. Trump had worn the ensemble — from Dior, with a New Look silhouette — in 2017, when, as first lady, she visited Paris with her husband for the Bastille Day celebrations. For anyone who remembers that suit, seeing it again was like sliding down a wormhole to the recent past when the Trumps occupied the White House — a further reminder, like the virtual White House projected behind Mr. Trump as he made his speech, of the point of the whole shebang.Mrs. Trump was offering something of a preview of how she may again play her part. (Not to mention the fact that, despite Mr. Trump’s statements about manufacturing in America and buying American, she has never seemed all that interested in that idea.)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

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      Cries of Sexism Greet a Nike Olympic Reveal

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      The sporting giant offered a sneak peek at its track and field outfits for Team U.S.A., and an unexpected backlash ensued.Ever since the Norwegian women’s beach handball team made it known that they were required to wear teeny-tiny bikini bottoms for competition into a cause célèbre, a quiet revolution has been brewing throughout women’s sports. It’s one that questions received conventions about what female athletes do — or don’t — have to wear to perform at their very best.It has touched women’s soccer (why white shorts?), gymnastics (why not a unitard rather than a leotard?), field hockey (why a low-cut tank top?) and many more, including running.So it probably should not have come as a shock to Nike that when it offered a sneak peek of the Team U.S.A. track and field unies during a Nike Air event in Paris celebrating its Air technology on Thursday (which also included looks for other Olympic athletes, like Kenya’s track and field team, France’s basketball team and Korea’s break dancing delegation), they were met with some less-than-enthusiastic reactions.See, the two uniforms Nike chose to single out on the mannequins included a men’s compression tank top and mid-thigh-length compression shorts and a woman’s bodysuit, cut notably high on the hip. It looked sort of like a sporty version of a 1980s workout leotard. As it was displayed, the bodysuit seemed as if it would demand some complicated intimate grooming.Citius Mag, which focuses on running news, posted a photo of the uniforms on Instagram, and many of its followers were not amused.“What man designed the woman’s cut?” wrote one.“I hope U.S.A.T.F. is paying for the bikini waxes,” wrote another. So went most of the more than 1,900 comments.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

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      Virgil Abloh’s Legacy Reaches a New Stage

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      Shannon Abloh and the Fashion Scholarship Fund unveil a new plan.Many companies, including fashion companies, may be going silent about their diversity, equity and inclusion initiatives in the face of political change. The last round of major designer appointments may not have included a single creative director of color. But at least one group is doubling down on its commitment to broadening the style-talent pipeline.At its annual gala on April 8, Peter Arnold, the executive director of the Fashion Scholarship Fund, the nonprofit that is dedicated to expanding access to the industry for underprivileged students, and Shannon Abloh, the widow of Virgil Abloh, will unveil a new strategic plan for the Virgil Abloh “Post-Modern” Scholarship Fund. The new initiative will double the number of recipients and expand the way the fund defines support.As such, it marks the next step in Ms. Abloh’s efforts to consolidate her husband’s legacy.Mr. Abloh, the pioneering Black designer who founded the brand Off-White, collaborated with Nike and became the first Black creative director of Louis Vuitton men’s wear, died in late 2021 of a rare form of cancer.“When he became successful, Virgil was the first Black face that many kids saw in a room they didn’t know they could enter,” Ms. Abloh said via Zoom from Chicago just be fore getting on a plane to fly to New York for the Fashion Scholarship Fund event. “He and I talked about, How can we turn this into something that really means something over time?” The Virgil Abloh “Post-Modern” Scholarship Fund was part of the answer.Shannon Abloh with the designer Aurora James at the CFDA awards ceremony in November 2022.Nina Westervelt for The New York TimesNow, she said of the D.E.I. reversals, “it’s really nerve-racking, seeing the changes that are happening. But for me, all it means is that the work needs to continue to be louder. It just makes me double down and say, ‘OK, then we need to fight harder.’”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

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      LSU’s Kim Mulkey Courts Controversy in Style

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      Inside the coach’s winning fashion playbook.The smog of a Washington Post exposé may have been hanging over Kim Mulkey’s head during the L.S.U. game on Saturday afternoon, but the highest paid coach in women’s collegiate basketball wasn’t going to hide. How could you tell?Well, in part because at the start of the N.C.A.A. tournament, she had given a news conference threatening a lawsuit about the article, thus calling to attention to it. In part because there she was, running up and down the sidelines and screaming her head off. And it part because … goodness, what was she wearing?A gleaming pantsuit covered in a jumble of Op Art sequined squiggles, as if Big Bird had met Liberace and they’d teamed up for “Project Runway.”Kim Mulkey, resplendent in sequins at the L.S.U. Sweet Sixteen game on March 30.Gregory Fisher/USA Today, via ReutersEven in the context of basketball, a sport in which players and coaches understood the power of personal branding through clothes long before almost any other athletes, Ms. Mulkey stands out. More than perhaps anyone else in the league — possibly in all of women’s basketball — she has made her image a talking point, a reflection of her own larger-than-life personality and a tool to draw attention to her sport. She is basketball’s avatar of the Trumpian era, offering a new version of The Mulkey Show at every game and costuming herself for the moment. As her team meets the University of Iowa again in the Elite Eight, brand Mulkey will most likely be raising the stakes once more.It would be wrong to call her clothes “fashion.” They have little to do with trends or silhouette. But love what she wears or hate it, love how she behaves or hate it, her sometimes ridiculous, always eye-catching outfits are, like her winning record, abrasive personality, problematic comments about Covid-19 and reported homophobia, impossible to ignore.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

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      Celine’s Fall Collection Recalls the 1960s

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      It’s a genuine trend. Just look at Hedi Slimane’s Celine.A full week after the end of the fashion season, Hedi Slimane of Celine released his fall women’s wear collection — as a video. But while he may have been going his own way with timing and format, in one way he was right on trend: Rather than offering up yet another cool-girl-in-the-city collection (trench coats, jeans, blazers, vintage slip dresses), he swerved in an entirely different direction.It was one that focused on the three Ps — pearls, pussy bows and polish — of midcentury chic. The word “pert” also came to mind. Politesse, too. Oh, and pouting. Celine is getting in on the beauty game.In what was framed as an ode to the Celine founder, Céline Vipiana, as well as the photographer Richard Avedon, Mr. Slimane offered up a tight collection of late 1960s silhouettes: extremely short on the bottom (just brushing the rear), structured on the top, and defined overall by an ethos rooted not in rebellion but in the jolie madame. It was less night crawler than day bruncher. Little skirt suits with bright buttons alternated with jewel-encrusted balloon minidresses; neat peacoats with oversize bow blouses beneath carefully cropped jackets.Celine, fall 2024CelineCelineCelineCelineCelineCelineThere was not a pair of pants to be seen, though there were a lot of boots, exaggerated spitfire caps, shades and, always, pearls, in the form of button earrings or Babe Paley strands. Indeed, in aesthetic terms at least, Mr. Slimane and Ryan Murphy of “Feud: Capote vs. the Swans” seem to be on the same page in embracing the return of highly conscious, coordinated outfits — in embracing the idea of the outfit itself, retrieving it from the dustbin of the passé.There’s nothing casual or just-rolled-out-of-bed about these clothes. Nothing “Oh, this old thing?” Rather, they speak to the importance of dressing for the occasion, when every day is the occasion.The message was somewhat undermined by — buy? — the loving close-ups of the new lipsticks, as well as by Mr. Slimane’s insistence on using only very young, very skinny models. (In this, he is still unfortunately stuck in a rut.) But it’s still a striking message, and one that has been dormant for a long time.Ever since casual Fridays were introduced way back when, we’ve been on a slippery slope to the end of even an unspoken dress code. These clothes — this trend, which was also the biggest takeaway of the recent season — suggests there is value in moving in the other direction, in the idea of putting oneself together.In the end, it’s a form of self-care. Can’t everyone use a bit of that right about now? More

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      A Painter’s Role? Capturing the Sparkle of a Gemstone

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      As one artist wrote: “Luxury is not found in the cold pixels of our phone or computer.”There are myriad words to describe how light enters and reflects in diamonds and gemstones. They glisten and sparkle, twinkle and dazzle. Often they are luminescent, sometimes brilliant and certainly eye-catching.But conveying those sentiments artistically, as in a drawing or painting, requires an entirely different kind of articulation. And as times have changed, so have the techniques used to capture jewelry, as well as the reasons for depicting it.“There is a code to always respect so that the eye can read the volume and the jewelers can understand the design,” Estelle Lagarde, 29, a gouache painter and jewelry designer in the Haute-Savoie region of eastern France, wrote in an email. “The light always comes from the top, at 45 degrees to the left. Thanks to this code, we know where to place the shadows and light.”Ms. Lagarde’s use of that code, which guides artisans turning designers’ ideas into reality, can be seen in her meticulously detailed images of jewelry and watches. She begins each project the same way: making a contour drawing using a software program, “in order to have the exact dimensions of the technical drawing and the contours of the piece.” She then prints the sketch on a sheet of gray paper and fills its curves and spaces using paint pigments and a long, thin hair brush, called a rigger brush, that allows her to paint fine lines and intricate details.She has created artworks for watch brands such as Vacheron Constantin, MB&F and Purnell and for jewelry companies including Messika and her own Lagarde Jewelry. And she always sells her jewelry with its matching painting, and also accepts painting commissions. Currently, a ring called Pop Candy (21,000 euros, or $22,630) is her entry level piece.The Pop Candy ring.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