- So, Lindsay Lohan is a real-life serious theater actress now. She is starring in David Mamet’s play, Speed-the-Plow, and it sounds like she’s having a hard time memorizing her lines. [Telegraph]
- France put the Saint Laurent film up for the “Best Foreign Language Film” category at next year’s Oscars. [The Hollywood Reporter]
- Marc Bouwer and Alicia Keys‘ stylist got into a bit of a tiff after the singer’s people failed to Instagram a Bouwer dress they’d agreed to post. [WWD]
- The legal battle over the Richard Avedon book, Avedon Behind the Scenes, wages on in court. [Page Six]
- Emma Watson gave a speech about feminism to the U.N. [YouTube]
- Zadig & Voltaire just can’t quit Terry Richardson. [Racked]
- It’s true: You can make your legs look long even if you’re wearing flats. [Popsugar Fashion]
- Lady Gaga thinks modern culture is too hard on poor, hard-working celebrities just out for a little more exposure and a couple more millions. [Page Six]
- Bruce Jenner: A man of many coifs. [Perez Hilton]
- To the 105 million single people in America, this week is your week. Seize it! It’s officially “Unmarried and Single Americans Week!” [The Washington Post]
Summer may be coming to an end for most of us, but Vogue Spain turned up the heat with its October cover. The magazine tapped Emily DiDonato as its cover star, who was captured by Miguel Reveriego in New York, perched on the back of a black Lamborghini. Emily was styled by Belén Antolin showcasing a Gucci dress teamed with a Versace belt.
Members of our forums share mixed feelings toward the cover. “It’s an unusual Vogue cover but I kinda like it. Looks more like a Grazia but her smile is just gorgeous!” shared fluxxx.
“Yes, the smile is indeed beautiful, but it looks a bit juxtaposed with her pose, dress, and the car. One would expect something more fierce, no? Anyway, happy for Emily,” replied Benn98.
Miss Dalloway also couldn’t quite pinpoint what was wrong: “Yup the composition is off, but she is soo gorgeous, and it has a nice happy energy that I don’t mind. But imagine if this was done well, it would be wonderful. They always fall short….”
“I think this would’ve worked better if she was staring seductively into the camera considering she’s holding up her skirt,” suggested KateTheGreatest, who then went on to say, “But she’s gorgeous and has a lovely smile.”
Also left underwhelmed was Srdjan, “I don’t know. Looks a bit amateurish, the way they left the empty space above her head. I don’t like the facial expression, but I love the styling and the car. P.S. Lazy eye alert!”
“She’s always so lovely, but this cover looks like an advertorial for a car company,” commented tigerrouge, not feeling the presence of a flashy automobile.
We’re only just into fall and Coach is already launching its holiday campaign, featuring a set of young, up-and-coming artists. Zoe Kravitz, The Giver‘s Odeya Rush, singer BANKS and actor Christopher Abbott all star in the label’s “Dreamers” campaign, shot by Mikael Jansson.
Each subject is photographed portrait-style in black and white: Zoe smiles as she gets drenched in a downpour, while Christopher quietly reflects on precipitation by a lake. BANKS is pictured brooding underneath a tree and Odeya stands and stares into the camera in an oversized shearling coat.
So, why these four subjects for Coach’s latest? Creative Director Stuart Vevers explains: “The idea of the ‘American dream’ is relevant all around the world – independent spirits who lead their lives in an individual, unexpected way. The Coach Dreamers campaign offers a glimpse into the lives of four such souls. It captures the personality and attitude of the collection, as well as the people who will make it uniquely theirs: it celebrates cool, effortless ease, optimism and a sense of spontaneous freedom – all inspired by the spirit of Coach.”
Check out the images from the campaign below. (more…)
The beautiful portrait shot of Karen Elson on Vogue Ukraine’s September cover is soon to shift from newsstands, making way for the magazine’s October 2014 issue. Hana Jirickova stars on the front cover, which was photographed by Nagi Sakai. The 23-year-old model from the Czech Republic wears a scarlet red off-the-shoulder dress from Dolce & Gabbana as she reclines romantically on a chair draped in a blue silk fabric, resembling a painting from the 18th century.
Something else has caught the attention of our forum members, though. “This would’ve been nice if the model had decent hair instead of that dirty mop lookalike she has on,” commented MyNameIs.
“The hairstylist never made it to the shoot?” questioned MON, clearly not an admirer of the hairstylist’s work.
Also noticing the horrific hairstyle was Anna147, who writes, “She looks great, but I don’t like the hair at all… It’s ugly, doesn’t fit into the concept at all.”
“Love the richness of the cover, the colors are beautiful, so what happened to poor Hana? Did they forget to finish her hair and makeup???” agreed justaguy.
“Horrible cover! I hate it!! What a horrible hair style and pose. Just No,” declared fashionlover2001.
On the other hand, Benn98 couldn’t contain his excitement: “The rise and rise of Hana! I’m not complaining. It’s an image for a cover, but the wine red offers a romantic mood here. The main editorial will probably be stronger. Vogue Ukraine rarely disappoints.”
“What a gorgeous cover! Hana looks fantastic, its charmingly picturesque,” posted Miss Dalloway, sharing a positive attitude toward the cover.
Are you a fan of the cover? See inside the thread and share your own opinion here.
Karl Lagerfeld, fashion freelancer extraordinaire, continues to do it all and is showing no signs of slowing. The designer is profiled in The Business of Fashion‘s “Polymaths & Multitaskers” print issue, and really, there is none better to chat with about multitasking than the designer-photographer-illustrator. The piece provides plenty of insight into just how much work the 81-year-old designer actually does and — spoiler alert — it’s a lot.
For Chanel alone, Lagerfeld is producing twice as many collections as traditional houses. “We live in a world where, for this kind of business, we have to be quick and fast,” he says. “My agreement [with Chanel], which is lifelong, says four collections a year: two couture and two ready-to-wear. In fact, I’m doing eight. Not that I ask for more money. But it was my idea that there should be six ready-to-wear [collections] because every two months, everything can be changed. Nobody else has that.”
But that’s not all. Lagerfeld also chats about his more immediate work commitments, which are still quite numerous. “Tomorrow I have to do photos, with the [couture] fittings, of course, and also sketches that I’m late with that I have promised to magazines and all kinds of things,” he admits. “Then I do the dossier de presse for Chanel couture. And before that I have to photograph Frank Gehry, the architect, for Harper’s Bazaar. And there’s also the work with Marc Newson that we are doing for Vuitton.”
He also revealed that he’s been tasked to photograph the designers for Louis Vuitton’s “Iconoclasts” collection — the one for which he also recreated the French fashion house’s famous “LV” logo — along with designers like Rei Kawakubo, who opted out of photos and requested to be sketched by Lagerfeld instead.
But in spite of his ability to do it all, Lagerfeld remains humble…or at least as humble as he can be. “I’m a kind of machine in a way, but it doesn’t really take me effort. I don’t have an ego problem. Most of the designers, especially the young ones, have ego problems. I couldn’t care less. The label is the label and I try what I can do.”
[via The Business of Fashion]
Vivienne Westwood will soon release a memoir, and this weekend the 73-year-old designer released an excerpt from the tome in The Sunday Times. In it, we learn of her tumultuous relationship with Malcolm McLaren, former manager of punk rock group the Sex Pistols.
The designer reveals to the publication and the world that she and McLaren, who fathered her son Joe Corré, were in a relationship rife with violence. The turbulent relationship started, Westwood says, without much initiation from her side. She maintains that she was never really interested in McLaren, but he kept coming around so often, she didn’t know how to get rid of him. Things escalated when he got sick and needed a bed. “So I made him sleep in my bed in the daytime to get over a fever, and he stayed in there for days and then he wouldn’t get out,” she said. “And that was how we ended up having sex.” In spite of her not being too keen on McLaren, Westwood says she decided to be nice to him, which she thinks gave him the idea that she actually wanted a relationship. “I felt, you see, that somehow I’d been so kind to him that maybe he’d got the wrong idea, and it was my fault, and that I’d led him on without knowing.”
But it would be violence and abuse that colored the pair’s relationship. “I used to hit Malcolm,” Westwood admits. “One day he hit me back… He had this thing where he couldn’t leave the flat until he made me cry. He wanted to feel bad or something – he was trying to draw blood. It was simpler to give in; to give way to the tears so he would stop. Real tears have never come back for me. I haven’t cried properly since.”
It’s sad that Westwood didn’t feel like she could come forward all these years, but not surprising. Many victims of domestic violence don’t report their abusers. But with this particular issue at the forefront in the media these days, it’s becoming more important for stories like this to be told — hopefully Westwood’s experience can help another woman get out of a similar situation without it having to escalate.
Westwood’s self-titled book, co-written by the designer and Ian Kelly, is due to hit shelves October 9.