Bernadette Morra https://fashionmagazine.com Canada's #1 Fashion and Beauty Magazine Wed, 20 Sep 2023 14:28:50 +0000 en-US hourly 1 https://wordpress.org/?v=5.9.3 How to Read a Runway https://fashionmagazine.com/style/fashion-show-analysis/ Wed, 20 Sep 2023 14:28:50 +0000 https://fashionmagazine.com/?p=477230 “I don’t really understand how fashion shows work,” White Lotus actor Haley Lu Richardson told a New York Times reporter at the Diesel show in Milan in February. It’s not surprising that Richardson, who plays Portia in season two of the hit show, was a bit confounded. Even an industry vet like myself can be […]

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“I don’t really understand how fashion shows work,” White Lotus actor Haley Lu Richardson told a New York Times reporter at the Diesel show in Milan in February. It’s not surprising that Richardson, who plays Portia in season two of the hit show, was a bit confounded. Even an industry vet like myself can be perplexed by what a designer puts forth on the runway. What, for example, were we to make of Schiaparelli’s lion’s-head dress for the Spring 2023 couture collection? Was it a publicity stunt or a way to remind us of the house’s Surrealist roots? Or was artistic director Daniel Roseberry actually hoping it would be purchased and worn? Read on to see what I keep in mind when viewing a runway show.

RELATED: Julia Fox Is a Campy Bride + Other Standout Moments From NYFW

Photography via launchmetrics.com/spotlight

Consider who is in charge

Goals vary among the people who are setting the agenda at a fashion label. Some are conceptualists (Iris van Herpen, Yohji Yamamoto, Kei Ninomiya at Noir) who strive to create something that has never been seen before. Their “clothes” — if you can call them that — can sometimes look like moving sculptures, which pretty much is, in fact, what they are. These are the sorts of shows that often elicit comments such as “Who is going to wear that?” But that’s missing the point of the exercise. These designers aren’t working to solve a problem like “What should I wear to the office this fall?” They are meeting a creative challenge that they have set for themselves. These visionaries will often have lucrative commercial ventures, like fragrances (Viktor & Rolf), that support their businesses. Cases in point: Rei Kawakubo’s successful T-shirt line collab with Nike and the now iconic sneaker collab with Converse, both under the label Comme des Garçons Play.

This is very different from people like Emilia Wickstead and Tanya Taylor, who deliver more-familiar wares in updated shapes and new fabrics and prints. They, too, are designers, but their end game is to solve a problem like “What should I wear to my niece’s wedding?” Or, as in the case of Max Mara and Alberta Ferretti, they simply want to entice us with something beautiful and luxurious that we can’t resist.

Most designers fall somewhere between these two extremes. They offer originality and relatability. Think Dries Van Noten, Miuccia Prada, Pierpaolo Piccioli at Valentino, Maria Grazia Chiuri at Dior, Sarah Burton at Alexander McQueen, Anthony Vaccarello at Saint Laurent and Lazaro Hernandez and Jack McCollough at Proenza Schouler.

Assess the environment

 

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Often, there are clues about a designer’s intent in the show’s set design and music. Classical music playing in a gilded ballroom sets a very different tone than models walking through a field in silence. Many designers today commission art installations to create a unique setting that can become a major social media moment. Bonus: The looks are immediately identifiable on social media. There’s no way Stella McCartney’s wild horses darting around an equestrian arena can be confused with Akris’s industrial backdrop — even though both designers did lots of checked suits for Fall 2023. Sometimes, though, the atmosphere can overshadow the clothes. Does anyone remember anything from Balenciaga’s Spring 2023 presentation other than Ye marching through the mud?

Don’t judge a designer by their first show for a brand

When a designer jumps into a new role, it takes a while for them to find their way. They need to learn how to work with a production team, and that production team needs to learn how to work with them. Some designers create by draping cloth on the body, while others hand over sketches that need to be interpreted. Everyone needs to learn how to work together to ensure that what’s in the designer’s head can be executed as intended. And that takes time.

Where is the show taking place?

Historical context matters, and a show’s location can be a major indicator as to how you should frame what you see. New York’s Seventh Avenue was a manufacturing hub as far back as the early 20th century, so designers in that city tend to be more business-minded (Michael Kors, Tory Burch). London, England, which gave us the ’60s micro mini and ’70s punk, has always challenged the status quo and has an element of eccentricity that is pretty much expected (Vivienne Westwood, Christopher Kane, JW Anderson). Milan’s fashion industry grew from the fabric mills of Northern Italy, so there’s a big emphasis on materials (Fendi, Bottega Veneta, Missoni). And Paris fashion is rooted in haute couture, which grew out of the imperial court, cementing its position as the epicentre of luxury and craft at the highest level. This, in turn, draws creators from around the world, but only those deemed worthy in terms of technique and originality are given a slot on the official calendar.

There are exceptions, of course. The experimental sisters behind Rodarte mostly show their avant-garde looks in New York, while in Paris, Virginie Viard tends to stick to the tried-and-true at Chanel. And some designers switch fashion capitals now and then or stage off-calendar destination shows elsewhere around the globe. But you can pretty much assume that the closer you are to the Eiffel Tower, the more likely it is that what you will see on the runway is art.

Is it fashion or clickbait?

 

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This is a hard question to answer. Some runway items are just too expensive to make and will only be used for an ad campaign or window display. Still, these are valuable marketing tools that are worth their weight in gold. According to Women’s Wear Daily, in the 48 hours following Coperni presenting its spray-on dress in Paris, the event’s media impact value was measured at $36.3 million, with nearly 80 per cent attributed to social media. However, the dress was never produced beyond the runway version.

And sometimes it’s not about the clothes at all

As compelling as the looks at Gucci and Hermès are, do they matter? Probably not, because in the end, a large portion of those houses’ revenue comes from bags and leather goods. But that shouldn’t stop us from enjoying their shows.

This article first appeared in FASHION’s October 2023 issue. Find out more here.

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Celebs Pulled Out the Sparkle at the 2023 TIFF Tribute Awards https://fashionmagazine.com/style/celebrity-style/2023-tiff-tribute-awards-bulgari-celebrity-looks/ Mon, 11 Sep 2023 17:55:12 +0000 https://fashionmagazine.com/?p=476354 TIFF might be lighter on stars than usual this year, but there was still plenty of sparkle at the 2023 TIFF Tribute Awards gala on September 10. Under the twinkling chandeliers of the Fairmont Royal York Hotel where Hollywood royalty Marlene Dietrich and Alfred Hitchcock once laid their weary heads to rest, Spike Lee and […]

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TIFF might be lighter on stars than usual this year, but there was still plenty of sparkle at the 2023 TIFF Tribute Awards gala on September 10. Under the twinkling chandeliers of the Fairmont Royal York Hotel where Hollywood royalty Marlene Dietrich and Alfred Hitchcock once laid their weary heads to rest, Spike Lee and Pedro Almodóvar were among this year’s recipients. Both directors delivered moving speeches about how filmmaking can advance social and political justice.

RELATED: The Best TIFF 2023 Red Carpet Looks 

But it was the women who brought the bling both onstage and the red carpet.

Diamond earrings swung from architect Diane Bald’s lobes as she and her husband, Roots co-founder Michael Budman, introduced the inaugural Norman Jewison Career Achievement award, which went to Shawn Levy, best known for directing and executive producing Stranger Things. Vicky Krieps, who is starring with Viggo Mortensen in The Dead Don’t Hurt and took home the Tribute Performer “trophy” – that’s what her kids told her to call it – dazzled in a silver mini-skirted suit. And The Share Her Journey Groundbreaker Award presented by Bulgari went to Patricia Arquette, who was lavishly outfitted by the luxury jeweller in their Serpenti diamond necklace, Serpenti Viper diamond ring and Serpenti diamond earrings and bracelet with emerald eyes.

Oscar winner Arquette is a fourth-generation actor and something of Hollywood royalty herself and was praised by Camila Morrone for being, “as fierce a mother, as she is an activist, as she is an actress.” Arquette directed Morrone and Willem Dafoe in Gonzo Girl, which had its world premiere on TIFF opening night.

Take a look at some of the most glamorous celebrity style from the 2023 TIFF Tribute Awards presented by Bulgari below.

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The Ones: FASHION’s September Cover Stars On Modelling’s Highs and Lows https://fashionmagazine.com/style/celebrity-style/canadian-supermodels-september-issue/ Fri, 25 Aug 2023 14:00:31 +0000 https://fashionmagazine.com/?p=475138 It’s difficult to express how thrilling it was to have Kirsten Owen, Coco Rocha, Jessica Stam, Irina Lăzăreanu and Winnie Harlow together on-set for our September cover shoot. We wanted a powerhouse of Canadian modelling talent for this issue, and we sure got it. At times, I felt like I was watching an elite modern-dance […]

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It’s difficult to express how thrilling it was to have Kirsten Owen, Coco Rocha, Jessica Stam, Irina Lăzăreanu and Winnie Harlow together on-set for our September cover shoot. We wanted a powerhouse of Canadian modelling talent for this issue, and we sure got it. At times, I felt like I was watching an elite modern-dance troupe improvise a new work. These women’s body awareness, lack of inhibition, ability to play off one another and understanding of lighting and angles really drove home the difference between “model” and “supermodel.”

RELATED: Introducing FASHION’s September Cover Stars: 5 Iconic Canadian Supermodels 

All except Harlow, who began modelling in 2014, could be considered veterans, having had decades to hone their skills. “Those of us who started 20 or 30 years ago have had a long time and a lot of experience to build our confidence,” declared Lăzăreanu, who grew up in Montreal and was a muse of Karl Lagerfeld’s. “I’m sure that when we first started out, none of us were the models we are today.” Indeed, Rocha admitted that “it has definitely taken years to make it this,” referring to her explosive style of movement that has landed her on approximately 200 magazine covers, from Toronto to Tokyo.

At age 53, Owen is the eldest of the group, and what a privilege to see her in action — there is a powerful force within her that seems to take over when she is in front of the camera, to the point where she is sometimes unrecognizable. And I could hardly take my eyes off of Stam and Harlow — both radiate elegance and beauty whether they are performing on-set or relaxing in a makeup chair.

@fashionmagazine The fab five 🤩 Introducing FASHION’s September 2023 cover stars: Kirsten Owen, Coco Rocha, Jessica Stam, Irina Lăzăreanu and Winnie Harlow 💫 #fashionmagazine #fashiontiktok #magazinephotoshoot #KirstenOwen #CocoRocha #JessicaStam #IrinaLazareanu #WinnieHarlow ♬ original sound – FASHION

It was also revealing to hear Rocha, Stam, Owen and Lăzăreanu reminisce about working together in the aughts and compare their views of their profession to those of some young women today. “Modelling is not ‘how to take a selfie,’” lamented Lăzăreanu, alluding to how anyone with a social media account seems to think they are a model. And then there’s the matter of those who believe they are free to dictate hair, makeup and wardrobe. “I’ll wear whatever I’m told to wear,” Rocha shared. “But girls today will say ‘That doesn’t fit my image.’ They put themselves before the job.”

Of course, the logistics of getting five supers together in a Brooklyn studio were overwhelming and involved flights from as far away as Hawaii, where Stam lives. And I counted 63 pairs of shoes, 40+ pairs of boots, 16 curling irons and flatirons, hundreds of fake nails, wigs and hairpieces and eight jam-packed rolling racks that day.

As I left around 6:30 p.m. to catch my flight home, our cover stars were still going strong, and I told them how much I admired their stamina — I was completely drained, even though I’d done little more than scribble in a notepad and record their interviews.

Watch Canadian supermodels Kirsten, Coco, Stam, Irina and Winnie talk about the highs and lows of modelling, and their magnificent careers, here:

Creative director, video: Greg Swales
Cinematographer: Chevy Tyler
Camera operator: Vanessa Viera
Sound mixer: Braulio Lin
Editor: Leila Lorenz
Creative director, photo: George Antonopolous
Styling by Ashley Galang
Hair by Dimitris Giannetos for Opus Beauty/Sway (Kirsten Owen, Coco Rocha, Jessica Stam and Irina Lăzăreanu) and Dhairius Thomas for Raw Sugar (Winnie Harlow)
Makeup by Soo Park for The Wall Group/Chanel and Yeika
Nails by Nori Yamanaka for See Management/Chanel
Hair assistants: Luca Pagani, Christina “Harley” Beman and Miller Brackett
Makeup assistants: Tsuyoshi Sekimoto and Jayden Ho Pham
Nail assistants: Marie Barokas and Kuniko Inoue
Fashion assistant: Alexis Ayala
Producer: Alexey Galetskiy for AGPNYC
Art direction: Danielle Campbell
Words by Bernadette Morra
Fashion interns: Reinaldo Rivera Nunez, Tess Jameson and Gabby Hannley
Photo assistants: Yolana Leaney, Fracisco Bravo and Shawn McCarney Alviz
Digital technician: Amanda Yanez

Read our full September cover story with Kirsten Owen, Coco Rocha, Jessica Stam, Irina Lăzăreanu and Winnie Harlow here.

A version of this article first appeared in FASHION’s September 2023 issue. Find out more here.

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Introducing FASHION’s September Cover Stars: 5 Iconic Canadian Supermodels https://fashionmagazine.com/style/fashion-september-2023-cover-stars/ Thu, 27 Jul 2023 14:13:05 +0000 https://fashionmagazine.com/?p=473962 The Ones Canadian supermodels Kirsten Owen, Coco Rocha, Jessica Stam, Irina Lăzăreanu and Winnie Harlow unite to discuss the highs and lows of their magnificent careers. WORDS BY BERNADETTE MORRA As Kirsten Owen, Coco Rocha, Jessica Stam, Irina Lăzăreanu and Winnie Harlow trickle into a Brooklyn studio for FASHION’s September cover shoot, it’s clear that […]

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The Ones

Canadian supermodels Kirsten Owen, Coco Rocha, Jessica Stam, Irina Lăzăreanu and Winnie Harlow unite to discuss the highs and lows of their magnificent careers.

WORDS BY BERNADETTE MORRA

As Kirsten Owen, Coco Rocha, Jessica Stam, Irina Lăzăreanu and Winnie Harlow trickle into a Brooklyn studio for FASHION’s September cover shoot, it’s clear that this is going to be no ordinary day on-set. “It’s been so long!” Lăzăreanu exclaims as she throws her arms around Rocha. “I’m having a flashback,” Stam muses as she, Rocha and Lăzăreanu sit for hair and makeup. For many years, the trio were “like The Sisterhood of the Traveling Pants—always doing the same shows, the same shoots together,” explains Lăzăreanu, who was born in Romania and grew up in Montreal. “We would have a whole floor at the Principe hotel in Milan and leave our doors open and wake one another up for shows. It was a challenging time. We used to do 75, 88, 97 shows a season. But we got through it together.” As the blow-dryers buzz, there are shared recollections of good times, and bad, from over the years.

On Stam: Top, $145, CDLP. Pants, $140, Levi’s. On Rocha: Top, $145, CDLP. Pants, $130, Levi’s. On Lăzăreanu:
Top, $145, CDLP. Pants, $140, Levi’s. Boots, price upon request, R13. On Owen: Top, $145, CDLP. Pants, $140, Levi’s.
Boots, price upon request, R13. On Harlow: Top, $145, CDLP. Pants, $140, Levi’s. Boots, $1,295, R13.

Owen, Rocha, Stam, Lăzăreanu and Harlow have each walked the most prestigious runways, starred in the biggest ad campaigns and graced countless magazine covers. They all have the height, bone structure and temperament that the industry favours. And they are all Canadian. But it’s their differences that set them apart—not only from one another but also from other stars of the modelling world.

At 53, Owen is the eldest of the bunch. Born in Montreal, she was 16 and busing tables at a nightclub in Toronto when she was discovered by legendary agent Judy Welch. Within the year, she was sent off to Paris, where the style of catwalking at the time was sexy and high energy with lots of smiles and twirls. Grunge before grunge, Owen was a misfit with her solemn, androgynous strut. But she quickly became a darling of avant-garde designers like Yohji Yamamoto and Rei Kawakubo of Comme des Garçons. Her loping stride put more emphasis on the clothes than the personality in them. And then, recalls Owen, “one Fendi show, Karl Lagerfeld told all the models to walk like me.” Suddenly, bouncy, bubbly runway romps seemed out of date. Owen’s uniqueness and air of nonchalance have made her one of the coolest models ever, and she still travels between Toronto, her blueberry farm and jobs around the globe. 

Lăzăreanu’s path has been a bit more colourful. It was Lagerfeld who plucked her out of obscurity and set her career in high gear. As she chronicles in her book, Runway Bird (Flammarion), released last year, Lăzăreanu mixed modelling with rock ’n’ roll escapades of epic proportions. She was engaged to Pete Doherty of Babyshambles and the Libertines, collaborated with Sean Lennon, partied with Kate Moss and even woke up in a trashed hotel room—in Claridge’s no less. “I was very different from the other models and would get in trouble for being wild,” Lăzăreanu admits. “There would be some story about me in the press, and my agent would call and say ‘You can’t do that.’ But Karl had my back, and I was always so grateful for that.” These days, Lăzăreanu’s life is much calmer. She lives with her son in her cottage in the Laurentians in Quebec and, in addition to jetting around for work, is executive deputy director of the action group No More Plastic. 

They all have the height, bone structure and temperament that the industry favours. And they are all Canadian. But it’s their differences that set them apart—not only from one another but also from other stars of the modelling world.

Rocha, who was raised in Richmond, B.C., came to modelling as a Jehovah’s Witness. From early on, she has adhered to its core beliefs, such as no nudity or even partial nudity. But her faith has never been an obstacle, and Rocha quickly became lauded for her theatrical style of movement in front of the camera. Her strength of character extended to her off-hours as well. Rocha was among the first models to embrace social media (even her three young children have accounts); she is an owner of Nomad Management, with her husband/manager, artist James Conran; and she has passed on her knowledge of posing, runways, branding, contracts, agencies, accounting and social media to more than 4,000 students through the Coco Rocha Model Camp. But the thing she is most proud of, she says, is her involvement in pushing for legislation changes in New York state for models under the age of 18. “There were no laws protecting against sexual harassment and abuse or ensuring that models received payment or even meal breaks—nothing,” says Rocha, who began her career around age 15. 

“You’re a baby working with grown-ups,” points out Stam, who was discovered by a modelling agent at age 16 in a Tim Hortons. Stam, who grew up on a farm with six brothers outside Kincardine, Ont., advises newbies to learn about money matters and keep an eye on what’s going on. “There are, unfortunately, a lot of bad people who will try to take advantage of your finances because they know you’re a child and don’t know what you’re doing.” She now has two young children of her own and lives with them and her husband, screenwriter Brahman Turner, in Hawaii. Two of her most recent career highlights are the reissuing of Marc Jacobs’s Stam bag, named after her in 2005, this spring and walking the red carpet at the AmfAR Gala Cannes during the 2023 Cannes Film Festival. 

L.A.-based Harlow also attended the AmfAR Gala Cannes, along with her boyfriend, NBA star Kyle Kuzma. Harlow, who hails from Mississauga, Ont., is the newcomer in FASHION’s September cover crew, having started in 2014 with an appearance on America’s Next Top Model. Despite having been discouraged from modelling due to her skin condition, vitiligo, she persisted, and in addition to her many cover, runway and campaign achievements, she brought her suncare line, Cay Skin, to Canadian Sephora stores—one of which turned her down when she once applied for a job. She also just launched her very first Puma collaboration—fully designed by Harlow herself. Watching our cover stars in front of the camera, I’m struck by their athleticism, lack of inhibition, understanding of how to “work” the garments and ability to silently improvise with one another. I sit down with them between shots to discuss their profession, their highs and lows and their views on the industry.

On Stam: Jacket, price upon request, David Dixon. Pants, $1,285, Lapointe.
On Rocha: Coat, $12,360, Chloé. Boots, $2,590, Ami. Ring, $3,970, Dinh Van.

ON THE EARLY DAYS

OWEN “It was horrible when I first started. I hated it and felt really uncomfortable. I was 17, and I had just arrived in Paris; I had never seen so much beautiful food, and I wanted to eat everything. People in the business were telling me I was too fat, and I felt like they wanted to change me. The hair and makeup didn’t feel like me at all. The style of runway walking was very coquettish. I could only walk the way I felt comfortable, which was my normal way of walking—really fast, with large steps. Some people wanted me to walk differently, but I couldn’t do it. I didn’t want to do it.”

LĂZĂREANU “My first big show was a Chanel couture show in either 2004 or 2005. I wasn’t doing much work as a model. I was doing go-sees, but it wasn’t really working out. My agency sent me to this Chanel casting, and there were like 300 girls. I walked in wearing a long gypsy skirt and Tibetan boots; everyone else was in tank tops and high heels. Karl [Lagerfeld] passed through the corridor; he stopped and looked at me and then kept walking. And then the casting director came out and said, ‘Karl wants to see you.’ I was like, ‘Me?’ So I went in, and they changed me into a little black dress. And they said, ‘Don’t talk to him.’ But I talk a lot, and when I’m nervous, I talk even more. So he asked me a question and I started talking. I had a really strong French-Canadian accent, and that made him laugh. I did that show, and then I worked with him for 10 or 12 years.”

HARLOW “In Toronto, friends would ask me to model things they were selling and post the images. It was the beginning of social media. Anna Trevelyan, the stylist, saw me on Twitter. She showed Nick Knight images of me and he was like, ‘Oh, my gosh, amazing—reach out to her.’ They asked me to come to London to shoot. I had no idea who anyone was. So I did my research and showed my mom and I was like, ‘Can I go?’ She said: ‘Let’s hit up your family in London. Make sure that you’re safe.’ I didn’t have an agent for a very long time. I picked a manager in Toronto because I was getting a lot of emails. I got a lawyer, and I was my own agency.”

On Stam: Top, $145, CDLP. Pants, $140, Levi’s. On Rocha: Top, $145, CDLP. Pants, $130, Levi’s. On Lăzăreanu:
Top, $145, CDLP. Pants, $140, Levi’s. Boots, price upon request, R13. On Owen: Top, $145, CDLP. Pants, $140, Levi’s.
Boots, price upon request, R13. On Harlow: Top, $145, CDLP. Pants, $140, Levi’s. Boots, $1,295, R13.

ON STEVEN MEISEL AND LEARNING HOW TO MODEL

STAM “I didn’t know anything about modelling. Before my first fashion week, somebody taught me how to walk in heels because I had never walked in heels before. But as far as modelling, posing and all that goes, I sort of learned as I went. And I learned from photographers like Steven Meisel. I met him when I was 16 or 17 and still living in Canada. He shot me for a Versus Versace eyewear campaign the day I met him. He put me on an exclusive with him for seven or eight months. It was like going to school—the Steven Meisel School. He taught me how to position my face toward the light, find my pose and relax into it and then have fun and play. Last year, we shot a Zara campaign. Now when he shoots, he has a mirror on-set so you can perform a bit more and see how you look.”

ROCHA “I used to be an Irish dancer; this kind of dancing is rigid up top with the bottom moving fast, so nothing about it is practical for modelling. I went to Taipei to do catalogue work; it was hours upon hours of shooting every day, and it’s where I learned the basics of quick posing. These catalogue models move very quickly, and I truthfully thought that’s how you model. A few years later, I worked with Steven Meisel, who loved this quirky, weird thing I was doing. He was like, ‘That’s so weird and strange—keep doing it.’ So I was allowed from day one to perform the way I wanted because he gave me that approval, which, in turn, led to the industry saying ‘Well, if he says it’s OK, I guess we should let her do it the way she wants to do it.’”

Top, $2,100, skirt, $5,300, and shoes, $1,650, Prada.

Irina Lăzăreanu

On Steven Meisel and Learning How to Model 

One of my first jobs with Steven Meisel was for Vogue Italia. It was a very long editorial—70 pages—so we shot for almost three weeks. Camilla Nickerson was styling, and Pat McGrath and Guido [Palau] were on makeup and hair. I had to be different characters; one was a marionette, and I had to do these crazy jumps for about an hour straight. Steven would say ‘Do it again, but your hand should be here, your pinky should be there.’ And we did it again and again and again. I really believe that Steven is the absolute best teacher. He trains you how to move, how to understand images and lighting and how clothes move on you.”

Jacket, $3,455, Ami. Top, $150, Eliza Faulkner. Legwear, $120, Sheertex. Shoes, $1,885, Christian Louboutin. Earring, $160, Jenny Bird.

ON NOT GIVING UP

LĂZĂREANU “When I started my career, nobody understood my look; nobody knew what to do with me. I was considered edgy and different looking; I would go to casting after casting and people would throw my book away. This is when we used to do castings on foot and go around the city with a little map. It was 10 castings a day and 10 noes a day. And I thought, ‘OK, well, I’m going to go through photography books and learn about lighting and Irving Penn and study images and be productive to prepare, so when I get a job, I’m going to be the best model I can be.’”

HARLOW “I went to an agency when I was maybe 16. They said that if I wanted to be in the fashion industry, I should try to be a makeup artist. But I just thought, ‘You know what, that’s your opinion.’”

ON THE ROLE OF A MODEL

LĂZĂREANU “Kate Moss was a mentor to me when I started my career, and she taught me a lot. She said: ‘This job is not about you looking pretty. And it’s not about you. You’re a canvas and you’re part of a team, and together you’re going to build a concept and tell a story. So the faster you understand that as a model, the better you’ll be at your job.’”

OWEN “When I started, I thought modelling was incredibly boring, and I hated that. Everyone else got to be creative. The photographer was creative. Everyone was creative, but the model was like a puppet. I decided that it was not working for me, and I wanted to try to find a way that I could have fun with it, too. I had to come out of my shell and use my imagination to create a scenario and play and be able to make it work. It took years to finally realize what I had to do to make it fun for myself and make it work for other people. Then Paolo Roversi said to me, ‘Kirsten, modelling is an art and you are an artist,’ and that was like—wow, I was touched.”

Jacket, $14,265, top, $3,585, and gloves, $840, Saint Laurent by Anthony Vaccarello.

Coco Rocha

On the Role of a Model

“The whole purpose of any artist is to make people feel something. Actors, dancers, singers, performers—they all understand that. But if you say a model’s job is to make people feel something, you get a giggle. Fashion is a multi-trillion-dollar industry where you are trying to sell something or at least get someone to feel something. My goal on-set is that the room should applaud. They should be excited by what they just saw.”

On Owen: Dress, $695, Sid Neigum. Shoes, $1,675, Roger Vivier. Bracelets, $175 each, Jenny Bird.
On Lăzăreanu: Dress, $795, Sid Neigum. Shoes, $1,675, Roger Vivier. Bracelets, $175 each, 
Jenny Bird.

ON DIVERSITY

ROCHA “I remember Liya [Kebede] being backstage and saying ‘I’m the only Black woman.’ And we would be like, ‘Yeah, you are.’ But it wasn’t like, ‘Oh, shoot, what are we going to do about that?’ Looking back now, how did the world not see this as an issue? The industry shifted, for sure, but it shifted because the public said ‘Where am I? Where is my skin colour? Where is my body size?’ That only happened when social media came around.”

HARLOW “The true meaning of being a trailblazer is not just walking the path; it’s making that path easier for others to walk. I remember the first time I saw a model with vitiligo get a job after I had pretty much been the only one. In the comments, people were saying ‘Winnie Harlow, watch your back’ or ‘This girl is coming for your job.’ But the whole point of me doing what I do is so that I can cry tears of joy to see someone who looks like me. One of the first big covers I did was in Saudi Arabia, and there was a girl there who was a fan of mine and DMing me. I asked the magazine to have her with me on the cover. Being that representation that I never had is my proudest achievement.”

ROCHA “I find it funny that in acting or singing, you don’t see ‘curve singer’ or ‘curve actress.’ For some reason, models are put in tiny boxes.”

Dress, $1,885, Lapointe. Shoes, $1,150, Jimmy Choo. Earring, price upon request, Dinh Van.
Necklace, $6,950, and ring, $4,150, Bulgari.

Winnie Harlow

On Diversity 

 “I don’t call myself a spokesmodel for vitiligo. I don’t want to make another box for everyone to fit into, like ‘vitiligo models’ or ‘plus-size models.’ There shouldn’t be a mould in the first place. Let’s break it completely.”

On Lăzăreanu: Dress, $1,230, Mance. Boots, $2,420, Saint Laurent By Anthony Vaccarello. Necklace, $7,560, Bulgari.
On Stam: Blazer, $520, Norma Kamali. Necklace, $13,560, Dinh Van. On Rocha: Jumpsuit, $4,095, Moschino. Bracelets, From $185, Dean Davidson.
On Owen: Blazer, $795, Pants, $350, And Boots, $450, Boss. Necklace, $7,400, Bulgari. On Harlow: Coat, $2,375, Top, $570, And Shorts, $480, Mance. Boots, $2,400, Ami. Earrings, $225, Dean Davidson.

ON PUSHING BACK WHEN NECESSARY

LĂZĂREANU “We need to talk about general respect and work conditions for models. We all have war stories about how fashion week is and how the lifestyle is—it’s not the healthiest environment for a young woman.”

ROCHA “I’ve had an equal amount of frustrating moments with both sexes in my career. I think it’s fascinating when you find yourself in a sticky situation with a woman and you’re thinking ‘Is this even possible?’ Recently I worked with a new designer I’d never worked with before. I don’t give names because I believe people have the right to change. In the fitting, she spoke to me as if she were saying ‘I own you because I paid for you to be here.’ She never said it in those words, but it felt like that because of the way she was talking to me and even looking at me. All of it was such an awkward experience. And I thought: ‘Here we are in 2022, and your behaviour is so shocking. Women shouldn’t be doing this to other women.’ I left thinking ‘What is happening?’ James saw me cave in and cry; it was that bad. I think I was also in shock because there I was, trying to be technical and kind and respectful. But this woman was just not having it, and I said, ‘James, I can’t do it’ and he said, ‘I agree—we’re cancelling.’ This person’s team was very sweet and said, ‘Can we double the amount?’ I said, ‘Absolutely not.’ Any designer who thinks that treating someone like that can be fixed with money will never learn. She was not happy. She told my team I was disrespectful and a diva. A few days later, she tried to get herself in front of me, but I have a husband who is my bodyguard, my everything, and he wouldn’t let her come near.”

HARLOW “I’ve endured a lot of hair damage backstage and during photo shoots when there haven’t been people behind the scenes who are well educated in Black hair. Those are the times when I feel the most discrimination. For one cover shoot, I came on-set with my natural ’fro. I’d worked on it all night, putting curl-rod sets into it, and it was really beautiful. When I got on-set, they said they wanted my hair bigger, so they decided to add water. If you know Black hair, you know that water makes it smaller, not bigger. And so I ended up with a really wet, soggy hairdo. And then they asked me to put it back to what it was before. It had taken me all night to create the hair that they had just ruined, and I couldn’t get it back to what they wanted. That was disheartening because I had spoken up for myself, saying ‘It gets smaller if you wet it, not bigger,’ but I wasn’t heard.”

ON GOING TO EXTREMES TO GET THE SHOT

ROCHA “What have I not done for a shot? I’ve stood on the edge of a skyscraper without any sort of safety net. I have been in rooms that were on fire and worked with animals from elephants to camels. I had a black snake in my mouth for eight hours for photos by Steven Klein that never got published because American Vogue said they were a little too editorial—I would love to find those photos.”

LĂZĂREANU “We were shooting a Puma campaign with Ryan McGinley at the Serpentine in London. We had the museum to ourselves, and at the very top there was a swing that was attached to the ceiling seven storeys up. Ryan said, ‘Why don’t you jump from the balcony onto the swing?’ Obviously, the production team was against it. So during the lunch hour, Ryan and I ran away, and I jumped from the balcony onto the swing and we got the shot. And then we didn’t know how to get back. It took about an hour and a lot of people to get me off that thing.”

Jessica Stam

On Going to Extremes to Get the Shot

“I did a shoot 18 years ago with Charlotte Stockdale for British Vogue. We were on a cruise ship in Alaska for eight days. For one of the shots, we took a helicopter to an iceberg, and they dropped me off and shot me from the helicopter. So I was all alone on this iceberg. They were like, ‘Don’t move around too much because we don’t know if it’s OK.’ One of my favourite things is getting in a harness and doing flying shots. There was a Nina Ricci fragrance campaign where I was like Catwoman running across the rooftops they had built on a set. And I recently did a Vogue Italia shoot where I was climbing on furniture. I like doing flips and stuff when I’m not supposed to; it’s really fun.”

Blazer, $1,985, top, $750, pants, $995, and choker, $575, Sportmax. Rings, $280 each, Dean Davidson.

ON SOMETHING SPECIAL A DESIGNER HAS GIVEN THEM

STAM “Marc Jacobs and Anna Sui used to have these giant rooms full of samples, and they would give you a shopping bag and say ‘You can fill up the shopping bag—that’s your payment for doing the show.’ So I have a ton of Marc Jacobs, Anna Sui and Thom Browne, from when he first launched his womenswear. He’s also one of my favourite designers.”

LĂZĂREANU “I have a 1992 Westwood tweed jacket that Vivienne gave me that I cherish because she was such an inspiration to me and to so many people around the world. She really was the embodiment of punk and such a trailblazer. And I have an Alexander McQueen coat that he gave me. I love it very much because I loved him very much. He was an incredible designer, a master tailor and a very sweet human being.”

OWEN “My two kids and I have these beautiful cashmere Louis Vuitton blankets that Marc Jacobs gave us when he was there. He’s so lovely to work with—incredibly cool, accepting and easy. He doesn’t put pressure on you or judge you. He’s so easy to be around.”

ON KARL LAGERFELD

LĂZĂREANU “Karl was a perfectionist. He worked a lot. He was very demanding, but he also gave a lot to people. I would spend time with him at the studio, and he would draw while I would do my journals and my poetry, and he would lend me books to read.

“Once, I was doing the cover of Visionaire, and at the time I was flying back and forth from New York to Paris like four times a week. I got off the plane in Paris and went straight to the set. It was a night shoot, and I was exhausted. I remember having tears in my eyes. Karl saw me. He didn’t say anything, but he took me outside and said: ‘Let it out. If you’re going to cry, you do it now.’ So I was crying, and then he said, ‘Don’t ever let them see you cry.’ And it’s really kind of crazy because everybody in the studio would always say ‘Don’t show emotion; don’t let him see you cry.’ When he cared about you, he was very loving. It was a human moment.”

ON STAYING IN THE GAME

ROCHA “Some models look at new girls and think ‘You’re going to be my replacement. Why would I ever want to help you? It just means I’ll lose my job quicker.’ But in reality, we’re going to be replaced. It’s an industry that still has a warped belief that beauty is young. So why not help someone?”

Kirsten Owen

On Staying in the Game

“I have a very simple regimen: I run through the woods barefoot and then jump in my pond. I run for about 45 minutes, three or four times a week. It makes me feel happy and grounded. It’s not about looking youthful. It’s about feeling alive.

“How long will I keep modelling? I don’t know. Probably forever. [Laughs] I’m sure that I’ll still be doing pictures when I’m in my 90s.”

Top, $595, and skirt, $725, Rachel Gilbert. Bracelet, $175, Jenny Bird.

Our group discussion ends with a rousing chorus of Canada’s national anthem (in both official languages!) and agreement that one of the bonuses of the day was getting to see respected colleagues at work. “We never get to watch each other perform,” explains Rocha. “That’s when you think ‘I know why you’re so good, I understand why you keep working and I know why everyone loves you.’ It was really special today to watch everyone.” It’s also a privilege that I will never forget.

The full September 2023 issue will be available
on Apple News+ August 1 and on newsstands August 7
PHOTOGRAPHY BY GREG SWALES
CREATIVE DIRECTION BY GEORGE ANTONOPOULOS
STYLING BY ASHLEY GALANG
PRODUCED BY ALEXEY GALETSKIY FOR AGPNYC
CINEMATOGRAPHY Chevy Tyler CAM OPERATOR Vanessa Viera SOUND MIXER Braulio Lin VIDEO EDITOR Leila Lorenz HAIR Dimitris Giannetos and Dhairius Thomas for Opus Beauty/Sway and Raw Sugar. MAKEUP Soo Park for The Wall Group/Chanel and Yeika. NAILS Nori Yamanaka for See Management/Chanel. HAIR ASSISTANTS Luca Pagani, Christina “Harley” Beman and Miller Brackett. MAKEUP ASSISTANTS  Tsuyoshi Sekimoto and Jayden Ho Pham. NAIL ASSISTANTS Marie Barokas and Kuniko Inoue. FASHION ASSISTANT Alexis Ayala. FASHION INTERNS Reinaldo Rivera Nuñez, Tess Jameson and Gabby Hannley. PHOTO ASSISTANTS Yolanda Leaney, Francisco Bravo and Shawn McCarney Alviz. DIGITAL TECHNICIAN Amanda Yanez. 
 

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Myles Sexton on Nature, Fashion and Their New Podcast https://fashionmagazine.com/style/myles-sexton-interview/ Thu, 01 Jun 2023 13:00:30 +0000 https://fashionmagazine.com/?p=471082 It’s kinda hard to believe that Myles Sexton was once a sheltered country boy who had never heard of Madonna or Cher. “When I finally left my little town and moved to Halifax, people would ask me which one I liked and I had to say, ‘I don’t know who either of those people are,’” […]

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It’s kinda hard to believe that Myles Sexton was once a sheltered country boy who had never heard of Madonna or Cher. “When I finally left my little town and moved to Halifax, people would ask me which one I liked and I had to say, ‘I don’t know who either of those people are,’” laughs Sexton from their airy living room in their Waubaushene, Ont., home, just steps away from Georgian Bay. “It was a bit of a culture shock because I didn’t grow up with any of that.”

RELATED: This Toronto-based Advocate Wore the 52-foot Amsterdam Rainbow Dress

Myles Sexton poses in a yellow outfit in a desert
Swimsuit, $295, Jade Swim at Holt Renfrew. Jumpsuit, $320, Jesse Woon Sam. Boots, $250, L’Intervalle. Eyewear, $45, U3 Select. Bracelet (left), $1,380, bracelet (right, top), $1,080, and bracelet (right, bottom), $935, Omi Woods. Hair accessory (worn throughout), hairstylist’s own. Photography by Nick Merzetti

The makeup artist, activist and social media star describes being raised in a house that was “tucked in the woods on a hill overlooking a beautiful river and giant willow trees.” The property was in Nova Scotia on the border of Newport Corner and Brooklyn, which had a combined population of fewer than 2,000. “My parents lived a very simple, beautiful country life,” explains Sexton. “They never really believed in TV or video games or things like that. They would just tell me to go outside and not come back in until the sun went down. So I would explore the forest and see what I could find and watch the plants grow. Nature will always be a part of what grounds me.”

Myles Sexton poses perched atop a rock wearing a black and brown bodysuit
Swimsuit, $385, catsuit, $510, shoe covers, price upon request, and shoes, $775, Marine Serre. Bag, $195, Kanuk. Photography by Nick Merzetti

In August, Sexton and their fiancé bought their home in Waubaushene as a way to bring more balance to their life. You would never know it from Sexton’s bouncy persona — where they often begin a social post with a cheery “Hey cuties!” — but city life was taking its toll. “I am so bad at saying no,” they admit. “I wasn’t taking any time for myself, and I think I was burning out.” Demands included content creation for advertising partners, appearances on shows like Cityline and The Social and ambassadorial duties for the Canadian Foundation for AIDS Research (CANFAR). On top of that, Sexton had a full-time job as an educator for Fenty Beauty, which had them flying all over Canada and to the United States. “It was intense,” they say.

Myles Sexton poses next to a tree wearing a red sweater and matching dress
Top, $95, U3 Select. Dress, $420, Rotate at Hudson’s Bay. Boots, $230, L’Intervalle. Ring (left), $180, and ring (right), $275, Omi Woods. Photography by Nick Merzetti

They decided to kiss their Fenty Beauty role goodbye and take weekends off as well as a break in the middle of the day to walk Atlas, their Australian cattle dog. “I’ve been blown away by how much wildlife we see here,” they smile, citing a bear and lots of deer. “And there are these giant woodpeckers that are the size of a cat.”

The return to nature has been super healing for Sexton. “I’m really big into Japanese forest bathing,” they share. “I truly believe that trees give off particles that we absorb through our skin and they reduce our stress, anxiety and blood pressure.”

Myles Sexton poses in a floral jacket and matching corset
Jacket, $2,245, and corset, $1,680, Vivienne Westwood. Earrings, $60, COS. Photography by Nick Merzetti

This new chapter has also come with new projects. Sexton will take on more of a leadership role with Sexfluent, CANFAR’s youth-focused HIV and sexual-empowerment program. (Sexton is HIV+.) And in January, they released their first video as part of an ongoing partnership with Jean Paul Gaultier. “It’s me talking about HIV and getting to celebrate JPG’s fragrance and fashion,” they say. “So that was really a big one. JPG has been my favourite brand since I was baby Myles.”

Next on the horizon is a podcast, which is an extension of Sexton’s advocacy work. “I’ll be covering different topics around inclusive language and creating awareness about HIV/AIDS and sobriety,” they explain. “This will allow me to go into more depth compared to in a 60-second video.”

Myles Sexton poses on a sand dune
Jacket, $350, Monier. Skirt, $130, U3 Select. Swimsuit, $345, Abysse at Holt Renfrew. Bracelets, $215 each, Omi Woods. Boots, Sexton’s own. Photography by Nick Merzetti

And like many of us, Sexton is reconciling their love of fashion with their sense of responsibility. “I’m trying to be as conscious as I can,” they say. They seek out small-batch indie designers such as Montreal’s Denis Gagnon, whose high-waisted wide-leg trousers have been a go-to for five-plus years. Toronto jewellery designer Jenny Bird and gender-free, queer-focused New York brand Fang are other favourites.

Myles Sexton sits on a rock wearing a flowing white outfit
Jacket, $850, Mindful Pigs. Top, price upon request, Acne Studios. Skirt, $110, Unlike. Boots, $230, L’Intervalle. Photography by Nick Merzetti

With a wardrobe that includes body-con dresses and thigh-high boots, Sexton admits to being nervous about how their new neighbours were going to receive them. “I was dressing down when I would go to the grocery store and Costco and things like that,” they say. “And then people started recognizing me from TikTok and they’d be like, ‘Oh, you’re not wearing your regular outfits.’” So Sexton amped up the fashion factor, which has sparked a different, somewhat bemused, reaction. “Now, every time I leave the house, they’re like, ‘Are you going to an event?’”

Myles Sexton holds a large rock above his head while wearing silver pants and a black and dark purple turtleneck
Top, $55, The Giving Movement. Pants, $370, Rotate at Hudson’s Bay. Boots, stylist’s own. Photography by Nick Merzetti

Photography by NICK MERZETTI. Creative direction by GEORGE ANTONOPOULOS. Styling by ASHLEY GALANG. Hair by DUYEN HUYNH for LAKMÉ. Makeup by MYLES SEXTON. Prop styling: LAURA BRANSON. Photo assistant: RYAN FRANCOZ. Fashion assistant: KAREEM ALLAN MCCLEAN.

This article first appeared in FASHION’s Summer 2023 issue. Find out more here.

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How One Man Wears Chanel https://fashionmagazine.com/style/celebrity-style/chanel-menswear-siphe-november/ Thu, 25 May 2023 17:51:15 +0000 https://fashionmagazine.com/?p=470720 Chanel may not produce menswear, but at the recent Chanel Cruise 2023/2024 show in Los Angeles, there were men in Chanel roaming everywhere around the roller rink “runway” set up on a Paramount Studios lot. There was Snoop Dogg with a scarf tied babushka-style over his braids, Lil Nas X with a tangle of pearls […]

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Chanel may not produce menswear, but at the recent Chanel Cruise 2023/2024 show in Los Angeles, there were men in Chanel roaming everywhere around the roller rink “runway” set up on a Paramount Studios lot. There was Snoop Dogg with a scarf tied babushka-style over his braids, Lil Nas X with a tangle of pearls and chains around his neck, G-Dragon in a black jacket embroidered with white camellias, Nile Rogers in a CC logo jacket and jeans, Anderson Paak in a pink chain motif cardigan and many, many dudes — some famous, some not — carrying quilted bags.

RELATED: Coco Meets Barbie in Chanel’s New Cruise Collection Shown in L.A.

Some of the gents sporting Chanel that night are “friends of the house” including the National Ballet of Canada’s Siphe November. The stylish principal dancer began his relationship with the brand about two years ago, a perk that has allowed him access to an array of Chanel that he mixes with his wardrobe of cool independent designers and high street labels. Even better, November is a perfect sample size in Chanel clothes and shoes.

In L.A., he threw an oversized jacket thrifted at Value Village over a Chanel T-shirt to check out the new Rodeo Drive flagship. He lunched at Matsuhisa in a Chanel bomber jacket and black leather pants from Gap. And he attended the show in a tweed jacket with satin collar and cuffs over Ms. Min trousers. I sat down with November to chat about how he wears Chanel and how growing up in a small town in South Africa has given him a unique perspective on the storied brand.

chanel menswear
Chanel jacket, sunglasses, bag and loafers, Ms. Min pants and socks from Soop Soop. (Photography by Maya Fuhr)

How did you choose your look for the Cruise show?

There’s always one piece, whether it’s a pant or a hat, that’s the thing that allows me to step into my vibe for that day or event. For the show, it was that jacket. The whole look was inspired by Versailles and old drawings of the Sun King, Louis XIV. And the fluffy socks helped create a ballet feel without it being literal. It’s still me but it’s the Chanel version of me.

And there was a Michael Jackson influence with the sunnies. Especially with the loafers and the socks. He was also inspired by the courts of France. And he was the King of Pop. But I didn’t anticipate the way that jacket would shine in the lights which made it so much more spectacular. It sparkled so beautifully. It was a real moment and I felt like a star. I wanted to feel like the Sun King and I did.

Chanel does not make menswear, so you are a guy wearing women’s clothes.

And I love that. One of my biggest fashion idols is Pharrell (Williams). I remember I saw him once when he came to Toronto. It was, like, 2014 and it was at the height of when he had that Vivienne Westwood hat that everyone had an opinion about it. And I remember watching him through that whole time and he just kept wearing it. And then seeing him wear Chanel and rocking it and looking so fire made me want to wear it too. Chanel sunglasses are the only sunglasses I wear because of him.

Chanel sweater and necklaces worn with upcycled pants from Herbie Mensah London in Portobello Market. (Photography by Maya Fuhr)

A lot of guys would not wear pearls. Do you associate pearls with femininity?

No, I don’t. A pearl necklace on a man’s bare chest looks good to me. Jewellery is an accessory. It has no gender. If you look at different cultures around the world, historically they approach jewellery as a form of self expression and status. I see pearls as an accessory for self expression as opposed to an identity.

That must partly come from growing up where you did. I imagine you didn’t have any specific references for pearl necklaces.

No, I had none of that. In my culture, men and women wear beads as part of their traditional wear. I didn’t grow up with pearls tied to an image and then in my teens I saw artists breaking those boundaries — like Pharrell wearing pearls and mixing it with high jewellery and rappers breaking those codes. There’s a rebellious nature to men wearing pearls, which I like for sure.

Chanel cap and leather jacket. The string bracelet was purchased from a street stall in Windsor, ON and November treated himself to the Cartier Santos when he was promoted to principal dancer. “This is my reminder of everything I’ve accomplished so far.” (Photography by Maya Fuhr)

Do you have a favourite Chanel element?

One of the first shows I saw was dedicated to the camellia and to me, it doesn’t get any better than that. It’s so part of the identity of the house to me, even more than the two C’s. There’s something so rich about it. There’s so many ways you can play with it. I have a white camellia pin that I love to pop onto different outfits. It makes me feel Chanel without being too Chanel-ified.

Again, not to harp on the gender thing, but a flower is so conventionally identified with women.

To me it’s not associated with anything but care and sensitivity and beauty. So if it makes me look better, I’ll put it on.

Chanel necklaces worn with a KOTN tank and a mohair sweater that November purchased from a friend. (Photography by Maya Fuhr)

Do you think of Chanel as something precious that you only wear on certain occasions? Or do you look at it the same way you look at a cotton T-shirt?

Sometimes I approach it as “this works well with what I want to wear” or sometimes I make it the main event and the Chanel piece is the star. I look at clothes in general as kind of an everyday conversation. I don’t take very good care of my clothes, if I’m being honest. Because I think they’re supposed to be worn.

You’ve visited 19M, Chanel’s new Paris headquarters for 600 artisans including embroiderers, feather workers and goldsmiths. What was that like?

It was crazy. Seeing all the creativity that goes into developing new styles — as an artist that’s something I really connected with. As someone who puts a lot of hours into perfecting my work and understanding that whether my leg is two degrees higher or lower evokes a whole different emotion in the person experiencing it, seeing that attention to every little detail changed everything for me. It added a different layer of appreciation for the garments and what the brand represents.

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Coco Meets Barbie in Chanel’s New Cruise Collection Shown in L.A. https://fashionmagazine.com/style/chanel-cruise-los-angeles/ Wed, 10 May 2023 15:06:47 +0000 https://fashionmagazine.com/?p=470032 Margot Robbie need look no further for her promo wardrobe for the Barbie film coming in July. The Cruise 2023/2024 collection that Chanel presented in Los Angeles on May 9 was full of beachy, Barbie vibes. Robbie was among the dozens of celebs, including Kristen Stewart, G Dragon,  Elle Fanning, Lily Collins and Riley Keough, […]

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Margot Robbie need look no further for her promo wardrobe for the Barbie film coming in July. The Cruise 2023/2024 collection that Chanel presented in Los Angeles on May 9 was full of beachy, Barbie vibes. Robbie was among the dozens of celebs, including Kristen Stewart, G Dragon,  Elle Fanning, Lily Collins and Riley Keough, seated around a massive roller rink plunked down amid the sound stages of Paramount Studios for the show.

RELATED: The Chanel Lipstick This Makeup Artist Uses on Margot Robbie, and Everyone

The first clue that this was going to be a lighthearted romp came as guests walked into a lineup of food trucks serving falafels, pizza and other casual fare. A local radio station played over the loudspeakers and a giant scoreboard seemed to hint at a roller derby with the jumbotron catching glimpses of smiling celebs. Designer Virginie Viard‘s parade of pink short suits, leather jogging pants, board shorts, and cutout swimwear — often worn with leg warmers — seemed well suited to California’s fitness-crazed lifestyle. There was lots of sparkle for awards season and Hollywood premieres, including glow-in-the-dark heels and eveningwear that glittered with fireworks and ice cream floats. Palm trees showed up everywhere, one model carried a skateboard, and a VW van handbag had a couple of surfboards attached to its roof.

After the show, guests could join the professional roller skaters who were swooping and spinning around the rink. Snoop Dog, wearing a Chanel scarf babushka-style around his long braids, brought the house down with a short set. “This is my first fashion show,” he told the crowd before mentioning that his wife was wanting a Chanel bag, or two. He’ll find plenty at the four-storey flagship Chanel  just opened on Rodeo Drive.

Click through below to see some of the most attention-grabbing looks from the show — we think Barbie would approve.

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Vivienne Westwood Was “a Designer’s Designer” https://fashionmagazine.com/style/vivienne-westwood-death/ Wed, 04 Jan 2023 21:43:49 +0000 https://fashionmagazine.com/?p=462669 This article was originally published on December 29, 2022. Vivienne Westwood, who died December 29 in London at age 81, is widely credited for being the “high priestess of punk.” But she was so much more than that. Westwood was a visionary whose designs always led, never followed. She was a wit who could skewer […]

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This article was originally published on December 29, 2022.

Vivienne Westwood, who died December 29 in London at age 81, is widely credited for being the “high priestess of punk.” But she was so much more than that. Westwood was a visionary whose designs always led, never followed. She was a wit who could skewer aristocratic snobbery with a shrewdly mangled plaid. She was irreverent and provocative, receiving her Order of the British Empire at Buckingham Palace panty-less and putting the Queen with a safety pin through her lip on a T-shirt. But beyond being fashion’s foremost provocateur, Vivienne Westwood is the reason corsets, crinolines, rubber, leather and latex are accepted aspects of modern dress.

Dame Vivienne Westwood after collecting her insignia from the Prince of Wales during an Investiture ceremony at Buckingham Palace in London in June 2006. (Photography by Getty Images)

“She was revolutionary in so many ways,” says George Antonopoulos, FASHION’s creative and fashion director. “She took historical elements like corsets and coquette silhouettes and made them supercool and exciting.” S&M gear and fetish wear became “normalized” in her hands. “And back in the ‘80s, she was the very first gender bending designer,” he says. “She created unisex clothing and showed men’s and women’s together on the runway and it all made sense.” She was also one of the first designers to use her platform to raise awareness for political and social issues including nuclear disarmament and climate change.

Ever the non-conformist, Westwood seemed to get particular pleasure from sending up British culture. “She took traditional elements like tailoring and tartans and Harris tweed and turned them upside down,” Antonopoulos says, adding that Westwood was the first designer he ever spent money on as a teenager. “I loved how disruptive she was. She was the designer that made me fall in love with fashion.”

Vivienne Westwood with Malcolm McLaren. (Photography by Getty Images)

In the ‘70s, Westwood met Malcolm McLaren, manager of the Sex Pistols, and together the pair shaped the punk movement — he with the music and she with the clothes. They were romantic partners too, though Westwood later married her current husband Andreas Kronthaler, a designer who has worked alongside her since they married in 1992. In typical Westwood fashion, the union raised some eyebrows — he was 25, she was 50. But she could hardly care what others thought — a theme that ran throughout her career.

Perhaps that is why Westwood is also one of the most respected creatives of our age and one whose ideas have been referenced by so many who followed her. “She was a designer’s designer,” Antonopoulos says.

Below, a look at some of Dame Vivienne Westwood’s signature designs, from tartan to corsets, on the runway.

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Alessandro Michele Says Goodbye to Gucci https://fashionmagazine.com/style/alessandro-michele-gucci-exit/ Wed, 23 Nov 2022 22:21:26 +0000 https://fashionmagazine.com/?p=460799 Some are shocked. Others aren’t. Either way, the news that Alessandro Michele is leaving Gucci is rocking the fashion world. And in a week that also saw Raf Simons shutting his label, that world had already been knocked off its axis. Michele arrived at Gucci in 2015 with a bang, taking over from Frida Giannini […]

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Some are shocked. Others aren’t. Either way, the news that Alessandro Michele is leaving Gucci is rocking the fashion world. And in a week that also saw Raf Simons shutting his label, that world had already been knocked off its axis.

Michele arrived at Gucci in 2015 with a bang, taking over from Frida Giannini who had carried Tom Ford’s sexy/suit-y legacy forward when he left the brand in the mid-oughts. But that formula was stale and predictable and it was time for something new. I attended Michele’s first fashion show for Gucci in Milan — one that divided opinions as sharply as one of the knife pleats on the runway. With men and women both dressed in floral suits and pussy bow blouses, many left thinking, “what was that?” Others loved the gender blending. It was a fresh, young attitude that would eventually seep into the mainstream.

A visit to the Gucci showroom to re-see that first collection was like witnessing an explosion of creativity splattered all over walls. There were jarring mixes of colours and patterns, geeky glasses, fur-trimmed grandma coats and beaded birds and bees that seemed randomly placed. There was also so much that had not made it to the runway. It was an excess of ideas and designs made even more remarkable because Michele had kept it all bottled up inside in the years he worked under Giannini.  It was clear that old school sexy had been replaced with something that seemed much smarter — unapologetic eccentricity. Michele’s fur-lined slides, which became a must-have as soon as his first collection hit the stores, were the first clue that there was an appetite for his brand of quirk. And that’s exactly what Alessandro Michele delivered through his seven years at the helm of Gucci.

The reason many are not surprised by Michele’s exit is that despite high-profile fans like Harry Styles and the buzz Michele was so brilliant at creating like with his Spring 2023 show featuring 68 pairs of identical twins, Gucci clothes and accessories had become too predictable. Designers, like artists, sometimes reach creative limits and Gucci’s parent company Kering is a public one that needs growth to make shareholders happy. But the true question is: did Michele leave to take a mental break or to join another brand (Burberry could sure use him)? Only time will tell but we’d be very surprised if another big name doesn’t snatch him up soon.

Until then, we’ve rounded up Alessandro Michele’s top 10 most memorable moments from Gucci, from the opening look of his debut to Lady Gaga’s epic purple moment at the premiere of House of Gucci.

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Bilal Baig Teases Romance and Fun for Sort Of Season Two https://fashionmagazine.com/flare/tv-movies/sort-of-cbc-season-two-bilal-baig-interview/ Fri, 11 Nov 2022 15:00:05 +0000 https://fashionmagazine.com/?p=445389 This article was originally published in March 2022.  Bilal Baig moved into a new apartment in Toronto a few months ago and apologizes for “the mess.” But there isn’t much visible on my computer screen, even when Baig takes me on a video tour. They show me the yellow walls in the living room, purple […]

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This article was originally published in March 2022. 

Bilal Baig moved into a new apartment in Toronto a few months ago and apologizes for “the mess.” But there isn’t much visible on my computer screen, even when Baig takes me on a video tour. They show me the yellow walls in the living room, purple in the kitchen, and the art by Harmeet Rehal and Meera Sethi they haven’t had time to hang because Sort Of, the CBC and HBO Max original comedy written by Baig and Fab Filippo, has been renewed for season two and shooting starts this spring.

sort of season two bilal baig
Photography courtesy of CBC/Keri Anderson

Since launching last fall, the show has been hailed for breaking barriers – from its normalized portrayal of trans people to Baig being the first queer South Asian Muslim actor in a Canadian primetime series. Unlike that other CBC show with an LGBTQAI2S+ lead, Schitt’s Creek, Sort Of has little to no camp and zero stereotyping. “One of the things we didn’t want to see was somebody snap their fingers and read somebody down,” Baig says, swishing their hand around and using the slang for pointing out a person’s flaws. In fact, the realness is what makes the show so widely relatable. When Baig’s character, Sabi Mehboob, reveals to their mother they are working as a nanny, she looks at them in horror and replies, “Like Mary Poppins?”

Uh, not exactly. For starters, Mehboob is often dressed in boho layers for day and shiny minidresses by night. Shelley Mansell, costume designer for season one, mined the wardrobe from local Toronto shops selling both new and secondhand including VSP Consignment, Fashionably Yours, Second Nature and Rewind Couture.

bilal baig
Photography courtesy of CBC/Keri Anderson

Baig, too, is an enthusiastic thrifter, citing Common Sort, Nouveau Vintage and Black Diamond as their favourite destinations. “I like things that feel lived in,” they explain, adding a desire to shop responsibly is also top of mind. “When I was in high school I was really silly with my money. I got a part time job at Baskin Robbins and all I did was buy clothes.”

Today’s look is a floaty butterfly print top, pleather leggings, a filigree cuff, and three of their mother’s bangles. Raiding her jewellery box is something Baig started as a child growing up in Mississauga.

“There wasn’t a punishment associated with me wanting to wear my mom’s bangles or explicitly exploring my femininity at an early age,” they note. “My parents had some very strong values on how they wanted us to be raised and at the same time, there was a lot of freedom in my childhood to express myself.”

Not fearing rejection allowed Baig to grow in a way they may not have otherwise, they believe. “And interestingly, I think my parents are on their own journey of learning more about themselves too.”

sort of season two bilal biag
Photography by Greg Wong

So what can fans expect in season two?

For starters, there might be romance on the horizon. “I think it’s so delicious where we’ve left Sabi at the end of season one,” Baig says, with a smile stretching across their rose pink lips. Mehboob had to give up plans to join their BFF in Berlin when the mother of the children they look after has a serious bike accident. That and “sort of” coming out to their own mother combine for an emotional growth spurt that pushes the character to a new level of maturity for season two.

“I think they’re in a more open place when we meet them at the start of season two and I think they’re a little bit more open to receiving love,” Baig describes. “And more open to just being themselves more fully and freely in the world. And I think a lot of fun comes from that.”

On April 10, the Canadian Screen Awards will air with Sort Of leading with 13 nominations. And whether Baig and their colleagues take home top honours, they have already won in ways that are far more personal.

“My DMs are so full of really beautiful expressions of love and gratitude from lots of different kinds of people,” Baig says. “People talk about how they watch the show with their parents and that their parents have started to use their pronouns correctly, or at least really making a strong effort to. Folks have messaged me letting me know that they feel more certain than ever that they will transition or come out to their family. It’s like this spirit of opening. It means that it has reached people and changed lives and opinions, and that’s major.”

Check out the trailer for season 2 of Sort Of here:

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Is Kanye West Uncancellable? https://fashionmagazine.com/flare/celebrity/kanye-west-white-lives-matter-shirt/ Wed, 05 Oct 2022 18:03:09 +0000 https://fashionmagazine.com/?p=457740 On October 3, Kanye West sparked outrage when he unveiled a series of “White Lives Matter” T-shirts during Paris Fashion Week. You can read details about that and the ensuing drama, in which Ye publicly bullied a Vogue editor and accused LVMH’s Bernard Arnault of killing Virgil Abloh, elsewhere. Ye’s hate messaging is not in […]

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On October 3, Kanye West sparked outrage when he unveiled a series of “White Lives Matter” T-shirts during Paris Fashion Week. You can read details about that and the ensuing drama, in which Ye publicly bullied a Vogue editor and accused LVMH’s Bernard Arnault of killing Virgil Abloh, elsewhere. Ye’s hate messaging is not in line with FASHION magazine’s values of love and acceptance of all.

But his latest provocation does raise a lot of questions, especially in the areas of mental illness and fashion reporting.

Kanye West is impossible to ignore for editors tasked with keeping numbers high on their websites and social media platforms. From his false and incendiary claims (slavery “sounds like a choice”) to his harassment of ex-wife Kim Kardashian, Ye is the traffic gift that keeps on giving. But it’s also painful to watch someone with bipolar disorder (he was diagnosed in 2017) so recklessly attacking others. Social media has allowed us a front-row seat to the illness and we are witnessing in real time the impulsivity that is a core feature, along with grandiose delusions, feelings of invulnerability and self-destructive behaviours. (It should be noted that some of those same qualities might have contributed to Ye’s artistic achievements as well.)

But his illness can only be blamed for so much. It is the corporations who back his fashion ventures, the consumers who buy his wares and the media who keep shining a spotlight on him (as I might be criticized for doing here) who are enabling Ye to continue to wreak havoc.

And then there’s the matter of fashion reporting.

I am old enough to remember the ’90s (and earlier!) when critics like Suzy Menkes and Cathy Horyn spoke their minds in show reviews for The International Herald Tribune and The New York Times, respectively. Sometimes they would be banned from attending a show the following season, a wrist-slap that seems almost quaint today. But there’s very little critiquing now, partly because no one wants to upset a current advertiser or potential sponsor, but also because it’s up to you, the consumer, to decide what is good and what isn’t. There is just too much freedom of expression today for editors to declare what’s hot and what’s not. We show you what’s new and your choices are your business.

There is a problem, however, with what Teen Vogue editor-in-chief Versha Sharma describes as “fawning media attention” and, specifically, how it has enabled Ye to feel empowered to say and do anything he wants, without any consequences. She calls for fashion editors, journalists, headline writers, social media managers and editors-in-chief to “Please. Stop. Covering. Kanye. Uncritically.” If we do that though, don’t we need to Stop Covering Everyone Uncritically?

Fashion is just a slice of the pop culture sphere that Ye operates in, which makes his influence so potent. And also puzzling. With all the hate spewed and hurt inflicted, with his bullying of Taylor Swift at the 2009 VMA’s and alignment with racist homophobe Donald Trump, why has this man not been cancelled? Many people have for less. At press time, there was still no call to boycott Ye or his products. Does his illness provide him with a shield? Is it the traffic he generates, thanks to our ravenous appetite for voyeuristic thrills, that makes him untouchable?  Do his random acts of kindness (giving cash to the homeless, donating $2 million to the families of George Floyd, Ahmaud Arbery and Breonna Taylor among them) somehow redeem him, if only temporarily?  Or is there a point at which a person becomes so famous, they are simply uncancellable?

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Zendaya, and a 4 kg Emerald, Star in New Bulgari Film https://fashionmagazine.com/flare/tv-movies/bulgari-film/ Wed, 14 Sep 2022 15:06:07 +0000 https://fashionmagazine.com/?p=456374 A one-hour film about the Bulgari jewellery house which premiered at TIFF this week has no shortage of celebrities. Italian influencer Chiara Ferragni, Blackpink’s Lalisa Manoban, model Lily Aldridge and actress Priyanka Chopra Jonas all make appearances. We also spend a good chunk of time with Zendaya (who just made Emmys history) in her lead-up […]

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A one-hour film about the Bulgari jewellery house which premiered at TIFF this week has no shortage of celebrities. Italian influencer Chiara Ferragni, Blackpink’s Lalisa Manoban, model Lily Aldridge and actress Priyanka Chopra Jonas all make appearances. We also spend a good chunk of time with Zendaya (who just made Emmys history) in her lead-up to wearing the luxury brand at the 78th Venice International Film Festival.

But the real star of Inside the Dream is a 4 kg emerald—a dark loaf-sized rock that has brilliant green veins of precious material trapped within it. The Jaipur gem dealer whose family has owned the 21,000-carat rough gem for more than 25 years tells Bulgari creative director Lucia Silvestri that he has never had a good enough reason to cut it. But Silvestri is determined to convince him the time is right, as she is looking for an outstanding stone that will become the centrepiece of a magnificent diamond necklace.

For much of the rest of the film, which launched on Amazon Prime Video on September 13, we follow Silvestri, who is possibly the only woman in the male-dominated jewellery world who buys roughs and sees them through to their final state: precious works of art. We see her at her desk in Rome with a pile of purple and pink stones, using tweezers to place them on a wax board to try out different necklace designs. We see her creative wheels spinning as she imagines a diamond snake holding a giant emerald in its mouth. And we see her meeting with laboratory technicians, as the idea in her head begins to take shape with fire and other lapidary tools.

Lucia Silvestri in Bulgari film
Photo courtesy of Bulgari

Director Matthieu Menu, who previously worked on profiles of Yohji Yamamoto, Karl Lagerfeld and Simon Porte Jacquemus for an i-D magazine series called Hometown, also weaves in Bulgari history, from its founding by a Greek silversmith in 1884 to the 1960s when Hollywood stars such as Elizabeth Taylor discovered the Bulgari shop on days off from shooting at the Cinecitta studios in Rome, then insisted on wearing the purchases onscreen. “It was the original product placement and not only was it free, they paid us,” quipped Bulgari CEO Jean-Christophe Babin prior to the screening at TIFF Bell Lightbox.

Jewellery and fashion lovers will appreciate the behind-the-scenes glimpses of campaign shoots and how a 4 kg rock transforms into a 93.83-carat cabochon for the Serpenti Hypnotic Emerald necklace on Zendaya in Venice. But good luck resisting the temptation to head to bulgari.com immediately after the film for a little retail reconnaissance. Silvestri’s own jewellery is a greatest hits of Bulgari design and you’ll be wanting to sell your car or condo to own your own viper ring or Roman coin necklace by the movie’s end.

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Margaret Qualley, Tilda Swinton and Anna Kendrick Mingle at TIFF’s Chanel Dinner https://fashionmagazine.com/flare/celebrity/tiff-chanel-dinner/ Tue, 13 Sep 2022 00:10:54 +0000 https://fashionmagazine.com/?p=456027 “I love your look! You make me want to add another necklace,” Margaret Qualley tells me at the annual TIFF Chanel dinner at Soho House Toronto this past weekend, one of the most star-studded events at this year’s film fest. The actor is referring to the ropes of pearls I have layered over a special […]

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“I love your look! You make me want to add another necklace,” Margaret Qualley tells me at the annual TIFF Chanel dinner at Soho House Toronto this past weekend, one of the most star-studded events at this year’s film fest.

The actor is referring to the ropes of pearls I have layered over a special edition Chanel-in-Monaco T-shirt from the 2023 Cruise event. Qualley, who plays a dominatrix in Sanctuary, which premiered the following day, kept her accessories clean for a knit look covered in Chanel’s famous CCs.

Tilda Swinton, Tyler Perry and Anna Kendrick were among the other head-turners mingling at the third annual Female Filmmaker Dinner. The event is co-hosted with Variety Magazine to spotlight talent from the Chanel Women’s Writers’ Network—a project that the brand has been supporting in partnership with TIFF. But it was the unmistakable energy of Hollywood networking in overdrive that gave this evening its buzz with so many actors, writers, directors—and future job opportunities—in the space.

Many expressed their thrill that TIFF was back full throttle, including director Elegance Bratton, whose film The Inspection premiered earlier in the day. He is so enchanted by Toronto he would like to buy a home here, he shared adding, “If New York and Detroit had a socialist baby, it would be Toronto.”

Qualley, meanwhile, giggled when asked what preparation she had done for her role as a dominatrix. Did it involved any whips, chains or leather? “It’s more psychological warfare and not overtly sexual,” she explained. Whatever the vibe of the film, she has reason to celebrate. Her performance with co-star Christopher Abbott has been called “riveting” and “electric.”

Here’s our roundup of photos from the Chanel and Variety event:

 

 

 

 

 

 

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A Queen in Every Sense of the Word https://fashionmagazine.com/style/celebrity-style/queen-elizabeth-fashion/ Thu, 08 Sep 2022 15:55:13 +0000 https://fashionmagazine.com/?p=455850 As we absorb news of the death of Queen Elizabeth II at the age of 96 at Balmoral Castle, let’s reflect on the word “queen.” We use it loosely to describe a person who is strong, charismatic and true to themselves. A leader. A force. And in some respects we do that because of THE […]

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As we absorb news of the death of Queen Elizabeth II at the age of 96 at Balmoral Castle, let’s reflect on the word “queen.” We use it loosely to describe a person who is strong, charismatic and true to themselves. A leader. A force.

And in some respects we do that because of THE Queen, the woman who ruled for 70 years through ups and downs, deaths and divorces. Fires and family embarrassments.

Queen Elizabeth II was from a generation of women who were only expected to support their husbands, raise their children and bake perfect pies. But she embraced the job thrust upon her at age 25 when her father, King George VI, died. It’s a role with lots of rules and regs. Pomp and protocol. And, yes, perks, too. But it was never her choice. She stepped up and never stepped down, even down to her last few days when she welcomed new prime minister, Liz Truss.

Her Majesty evolved the role with the times—creating the walkabout decades ago and bringing television cameras into the palace. More recently she was the first in her family to tweet and have a Facebook account. She played along with Daniel Craig, pretending to arrive at the London 2012 Olympics by helicopter.

She shook hands with world leaders and visited factory workers and seemed just as pleased to be doing both. She cleverly crafted a fashion style that allowed her to be picked out in a crowd from half a kilometre away. And it wasn’t because she wanted attention. It was about the duty she undertook so profoundly—to serve the institution of the monarchy and the people of Great Britain.

She was also, of course, a wife, mom, grandma and great-grandma.

And through it all, truly a queen.

Below, we look back at Queen Elizabeth II’s life lived in style over the past seven decades, and some of her most iconic fashion moments:

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Princess Diana’s Death Was a Gut-Punch to Us All https://fashionmagazine.com/flare/celebrity/princess-diana-death-25-years/ Wed, 31 Aug 2022 17:54:54 +0000 https://fashionmagazine.com/?p=455495 I remember Princess Diana’s death vividly. My husband and I were at a tiny cottage on Lake Muskoka 25 years ago, when his phone rang with his sister calling to say the Princess of Wales had been in a car crash. I was already in bed, but something about the tone of his voice made […]

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I remember Princess Diana’s death vividly. My husband and I were at a tiny cottage on Lake Muskoka 25 years ago, when his phone rang with his sister calling to say the Princess of Wales had been in a car crash.

I was already in bed, but something about the tone of his voice made me climb out and head down the hall to the living room. He stopped the video he was watching on the little portable TV we had brought from the city. And there it was. Breaking news headlines. Regular programming interrupted. Diana had left the Ritz Hotel in Paris and been involved in a high speed car crash in the Alma tunnel, one I had driven through many times during Paris fashion week.

There was something ominous about the reporting from the get-go. A tension and weight to the delivery. We were both riveted. Then around 11 pm, reports that she was in grave condition. And soon after that, the gut-punch. Diana was dead.

We looked at each other in astonishment.

As so often happens when one is told someone they know well has passed, the first reaction is disbelief. The mind struggling to comprehend. Of course we didn’t know her personally. But all of us who followed her marriage, and its dissolution, felt we did.

Newscasters read statements from Prince Charles and Queen Elizabeth, saying they were “deeply shocked and distressed.” British Prime Minister Tony Blair was “utterly devastated.” My thoughts went to William and Harry, who would have been woken near dawn to be delivered the devastating news. And my husband, so quiet, was possibly recalling when he was told, at age six, that his father had died, just weeks after being diagnosed with leukemia.

We sat there for hours watching the commentary, with few details emerging. At certain points, all that was aired was the British flag at half-mast with the caption, “Princess Diana 1961-1997.” Newsroom staff were clearly as shocked as the rest of us.

The next morning we drove back to the city so I could go into work at The Toronto Star to write a piece which I titled: Princess Diana, Supermodel of the Royal Set. The camera lens loved her and so did we, I wrote. And while Buckingham Palace might have liked her to remain as silent as a mannequin, she had become much more than than a fashion plate. She used her beauty as power, turning the spotlight on those who weren’t as fortunate as her.

Until her luck ran out.

The days following her death were surreal. It was like the world had stopped turning, not unlike the period, only four years later, after 9/11. We sombrely connected with friends and family. We watched the floral bouquets outside Buckingham Palace grow, the Queen’s television message after being criticized for not addressing the public, and the heartbreaking site of Diana’s sons walking behind her casket which was topped by a note addressed to “Mummy.”

And now we watch the emotional fallout of her death. One son who is devoted to royal duty. The other who is not. Each dealing with the trauma in their own way, as all sons who face the untimely loss of a parent do.

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Issey Miyake Was the Sweetest Designer I Knew https://fashionmagazine.com/style/issey-miyake-death/ Tue, 09 Aug 2022 14:57:56 +0000 https://fashionmagazine.com/?p=454465 Issey Miyake, who died last week in Tokyo at the age of 84, was without question the sweetest designer I have ever interviewed. It was 1994 and I was working for the Toronto Star when I met him in his Paris office overlooking the exquisite Place des Vosges. The occasion was the launch of his […]

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Issey Miyake, who died last week in Tokyo at the age of 84, was without question the sweetest designer I have ever interviewed.

It was 1994 and I was working for the Toronto Star when I met him in his Paris office overlooking the exquisite Place des Vosges. The occasion was the launch of his first fragrance, L’Eau D’Issey, which went on to win multiple awards and become an international bestseller.

As I wrote then, I was struck by his lack of pretension, his simple, cluttered desk, his twinkling eyes, his warm smile.

Issey Miyake and models at his Ready to Wear, Spring 1994 show in Paris. Photography courtesy of Getty Images

He had every reason to be bitter and angry. He was a seven-year-old boy riding his bicycle in Hiroshima when the atomic bomb fell. It left him with a pronounced limp and, no doubt, profound invisible scars. His mother died three years later from the radiation. But unlike other designers whose life challenges have led to self-medicating, suicide or a narcissistic need for attention (or a combo of the three), Miyake seemed happy, serene even. And that joy was translated into clothing that bounced and billowed, expanded and contracted, and seemed endlessly charming and entertaining and…yet…comfortable, as anyone who has worn pieces from his Pleats Please line knows. In 2007, he stepped back to create a textile innovation lab with a focus on sustainability, more evidence of his lack of need for the limelight and public adoration.

Swedish model Emma Sjöberg wears a Pleats Please creation as part of Issey Miyake Fall 1995 ready-to-wear collection in Paris
Swedish model Emma Sjöberg wears a Pleats Please creation at the Issey Miyake Fall 1995 ready to wear show in Paris. Photography courtesy of Getty Images

We saw him as a visionary, a ground-breaking talent whose innovations were celebrated in museum exhibits and worn by some of the greatest musicians, writers and contemporary artists of the 20th century. Miyake saw himself as a man who simply liked to sculpt with cloth.

Issey Miyake Spring 1999 ready to wear show in Paris
Issey Miyake Spring 1999 ready to wear show in Paris. Photography courtesy of Getty Images

Having witnessed the worst, he seemed determined to find beauty wherever he looked. During our interview he suddenly stopped mid-sentence and began staring at the shadows on the wall. “Look,” he said. “The light.” I remember the moment so clearly, and how it captured the essence of his artistic core. RIP Miyake-san. Though it seems you had found peace already in your time on earth.

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Kristen Stewart Reveals Her “Checkered” Past at Chanel’s Cruise Show https://fashionmagazine.com/style/chanel-cruise-2023/ Thu, 05 May 2022 16:16:40 +0000 https://fashionmagazine.com/?p=448537 “Fun” was how actress Kristen Stewart summed up the Chanel 2022/2023 Cruise collection shown May 5 at the Monte-Carlo Beach Club just outside Monaco. “There’s something about watching high heels and a bathing suit walk down the beach,” Stewart mused. “I was laughing out loud throughout the entire thing. The collection had a real buoyancy.” […]

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“Fun” was how actress Kristen Stewart summed up the Chanel 2022/2023 Cruise collection shown May 5 at the Monte-Carlo Beach Club just outside Monaco.

“There’s something about watching high heels and a bathing suit walk down the beach,” Stewart mused. “I was laughing out loud throughout the entire thing. The collection had a real buoyancy.”

She wasn’t the only one who found designer Virginie Viard’s latest work full of whimsy. Clients, press and celebrities including Tilda Swinton, G Dragon and Johnny Depp ex Vanessa Paradis had flown in from all corners of the globe for the event. And there were plenty of locals, too, including royals such as Princess Caroline of Monaco (a BFF of late Chanel designer Karl Lagerfeld) and her daughter Charlotte Casiraghi.

 

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Guests lounged under striped cabanas while models strutted by at the water’s edge. Many of the looks riffed on the region’s cultural and leisure pursuits. There were cute pink tennis racquet cases, superyacht-ready swimwear, and black satin footwear inspired by the pointe shoes worn by Les Ballets de Monte-Carlo. Slot machine purses nodded to the Casino de Monte-Carlo, made famous in films such as Golden Eye and Ocean’s Twelve.

And the Monaco Grand Prix, which takes place at the end of this month, provided endless amusement. Several models carried racing helmets or miniature versions made into purses. Tweed and silk jumpsuits lined in terry cloth seemed like luxe versions of what a pit crew might wear.

chanel cruise 2023
Photography courtesy of Chanel

Lagerfeld had always wanted to show at the Beach Hotel, Viard shared in a touching press release. To me, Monaco is a matter of feelings above all. That’s Karl, Caroline, Charlotte. From very early on, I knew we would hold a show there, and more precisely at the Beach Hotel. Besides, Karl was dreaming about it.” Lagerfeld owned the villa, La Vigie, above the beach club and shot several Chanel campaigns at the home including an iconic one from the ‘90s starring Linda Evangelista and Christy Turlington. “I will never forget the times I spent there: terraces and balconies, big umbrellas, baskets of flowers — so much beauty,” Viard recalled.

Those florals popped up as bib-like clusters on striped shirt dresses and black satin gowns. But it was the racing prints that spoke to Stewart.

“I don’t know if it’s because I like cars and I like to drive really fast,” she said, adding that she isn’t one of the many who have recently taken to watching Formula 1 racing. “The first car that I ever drove as a teenager had a strip of checks around it and the top of the car was completely checkered.” You could even say she has a checkered past.

Swipe through the gallery below to see all the looks from the Chanel Cruise 2022/2023 collection.

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Special Message from FASHION’s Editor-in-Chief https://fashionmagazine.com/style/fashion-mission-statement-unapologetically-ourselves/ Wed, 09 Feb 2022 20:30:59 +0000 https://fashionmagazine.com/?p=443438 You are unapologetic about who you are. And so are we. So FASHION has adopted a new tagline: Unapologetically Ourselves. We feel it reflects where we are now since transforming, two years ago, from a traditional women’s magazine to a brand for all ages, sizes, genders, ethnicities and orientations. Since then we have written about […]

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You are unapologetic about who you are.

And so are we. So FASHION has adopted a new tagline: Unapologetically Ourselves. We feel it reflects where we are now since transforming, two years ago, from a traditional women’s magazine to a brand for all ages, sizes, genders, ethnicities and orientations.

Since then we have written about so many fascinating fashion and beauty lovers — from a guy who wears sequins to an 80-year-old woman with pink hair. We have featured people with a range of styles — from elegant to eccentric. And we’ve heard over and over again how emotionally and spiritually connected our subjects are to their fashion and beauty choices.

@fashionmagazine You are unapologetic about who you are. And so are we. So #FASHION has adopted a new tagline: #UnapologeticallyOurselves ♬ Stacked – TruFeelz

So when our team gathered for an editorial conference a few months ago to discuss future story ideas, we realized that we are living in a new era. Fashion has grown to have a broad definition and style is as individual as a fingerprint. People are feeling unapologetic about their life choices, and that has extended to what they wear, how they adorn their bodies, even how they style their hair. Often, when challenges arise, it’s clothing that becomes a comfort or a way to convey the turmoil inside. In the last year we’ve met a cancer patient who wore heels to her surgery as an act of defiance and a transgender woman whose courage around coming out was symbolized by a floral crown.

And so the #FASHIONforall mission statement that has adorned the spine of our print issues for the last two years has been replaced with Unapologetically Ourselves. And it’s a phrase you will find popping up again and again on our social media and website and in our magazine. Because, like you, I am #UnapologeticallyMe and we at FASHION are #UnapologeticallyOurselves.

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André Leon Talley, the Former Influential Vogue Editor, Dies at 73 https://fashionmagazine.com/style/andre-leon-talley-death/ Wed, 19 Jan 2022 16:57:04 +0000 https://fashionmagazine.com/?p=442049 André Leon Talley, who died January 18 at age 73, was the poster boy for a bygone era of fashion media, when the focus was on designers and their craft, and when knowledge of fashion history was a valued asset. “He was a one man style encyclopedia,” Toronto writer Shinan Govani declared on Instagram to […]

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André Leon Talley, who died January 18 at age 73, was the poster boy for a bygone era of fashion media, when the focus was on designers and their craft, and when knowledge of fashion history was a valued asset. “He was a one man style encyclopedia,” Toronto writer Shinan Govani declared on Instagram to mark the death of André Leon Talley.

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André Leon Talley and Anna Wintour at the 1999 Met Gala. Photography courtesy of Rose Hartman/Getty Images

When he was travelling the runway circuit as an editor for American Vogue, Talley’s assessment of a collection was often a lesson in fashion history, with references to Cristobal Balenciaga’s innovative silhouettes, or how Yves Saint Laurent revolutionized women’s dress. His observations were always delivered with excitement and appreciation, rather than the dry tone of an academic. Everything was, “Fabulous, darling!” – even the most head-scratching ensemble because he was unconditionally supportive of creativity. And his endless enthusiasm was infectious.

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André Leon Talley and Naomi Campbell at the 2006 Met Gala. Photography courtesy of Rabbani and Solimene Photography/WireImage

As Talley’s stature grew in the fashion world, his mere presence at an event made it significant. He became an icon, even before he started wearing colourful Daniel Day caftans to cloak his girth, a result of the emotional eating that started after the grandmother who raised him died. At six foot six, he literally took up more space than anyone in the room. And yet, he seemed more interested in the people around him, charming socialites and encouraging young people who approached him to follow their dreams.

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MADE Fashion Week Spring 2015. Photography courtesy of Rob Kim/WireImage

The 2017 documentary The Gospel According to Andre and the publication of his 2020 memoir, The Chiffon Trenches, shed light on the pain behind Talley’s rise to the top. He was born in Durham, N.C. and grew up at a time when segregation still existed. He was sexually abused when he was a boy, tormented for being Black and stoned by students at Duke University on one of his weekly walks to buy fashion magazines. His most valuable education began when he interned with Diana Vreeland at the Metropolitan Museum’s Costume Institute, and he landed at Vogue in 1983 where he held various titles, ending with editor-at-large.

Through his film and autobiography, we also learn how behind his back in Paris he was called Queen Kong, a term coined by Clara Saint, a publicist for Yves Saint Laurent. “There’ve been some very cruel and racist moments in my life in the world of fashion,” Talley expressed. “Incidents when people were harmful and mean-spirited and terrifying.”

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André Leon Talley speaks at the “The Gospel According to André” Q&A during the 21st SCAD Savannah Film Festival in 2018. Photography courtesy of Cindy Ord/Getty Images

After leaving Vogue, he seemed to grow lonely and bitter, calling the fashion world, “a vicious cruel beast.” He didn’t seem to understand the need for the budget cuts that were gutting the magazine industry, expressing horror that legendary editor Grace Coddington should have to line up for a taxi at the Paris airport. He came across as egomaniacal and entitled, which is unfortunate because given his wit and intelligence, and how dedicated he was to elevating others both at Vogue and through his support of the Savannah College of Art and Design, one would have hoped for a more serene retreat from centre stage. He certainly deserved it.

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Visionary Designer Virgil Abloh Dies at 41 After Private Battle With Cancer https://fashionmagazine.com/style/virgil-abloh-death/ Sun, 28 Nov 2021 23:39:21 +0000 https://fashionmagazine.com/?p=440182 This story was updated on Nov. 29. Virgil Abloh, whose death on Sunday from a rare form of cancer shocked the world, didn’t come from the fashion world. So he never bothered to fit in. Instead, he created his own system — one that didn’t include going to fashion school and peddling fancy clothes to […]

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This story was updated on Nov. 29. Virgil Abloh, whose death on Sunday from a rare form of cancer shocked the world, didn’t come from the fashion world. So he never bothered to fit in.

Instead, he created his own system — one that didn’t include going to fashion school and peddling fancy clothes to department stores.

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Lollapalooza 2018. Photography by Josh Brasted/FilmMagic

Abloh was an architect and part of a DJ collective that had a small clothing line. He was tight with hip-hop artists Kanye West and Travis Scott — fellow creatives who dressed like him in sneakers, tees and cargo jackets. He and West did an internship at Fendi in 2009 and three years later, recognizing that a new generation were mixing streetwear with luxury labels, Abloh founded Off-White. The upscale casual wear bearing graphic black and white stripes and arrows took off, appealing to well-funded international students and tech entrepreneurs who were re-writing the rules on corporate dressing. Abloh preferred concept stores to traditional retail and in the summer of 2018, recreated his Chicago studio at the Ssense flagship in Montreal.

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Paris Fashion Week 2018, Off-White Menswear Spring/Summer 2019. Photography courtesy of Getty Images

“Virgil was the first to merge music, architecture, culture, art and fashion,” comments George Antonopoulos, creative and fashion director of FASHION. “He created a lifestyle, not just a label. I think that’s what gave Off-White so much clout. He was also the king of collabs before collabs were king, finding success with IKEA, Nike, Mercedes-Benz and Rimowa.”

 

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“Everything Virgil touches, people are interested in,” Christopher Casuga told The Globe and Mail in 2019. Casuga and his wife Lia were the first in Canada to carry Off-White at their CNTRBND boutique in Toronto. In 2016, Abloh entrusted the duo to open one of his first Off-White stores on Yorkville Avenue. “Virgil has always told us to never be afraid to follow your dreams and believe in yourself,” Casuga told FASHION the day after Abloh’s passing. “It is a very sad moment for myself and my wife as he is a big reason we are who we have become today.”

Casuga and Abloh had been close friends ever since meeting at a party in Chicago in the late ’90s, and were part of a circle that included West, Scott, creative director Heron Preston and Givenchy designer Matthew Williams. “This is before they became who they are today,” Casuga told The Globe, recalling an event held at a Toronto nightclub that he calls, “one of most epic parties in Toronto ever. Virgil was DJing, Kanye was literally swinging off the ceiling.”

Abloh was named artistic director of Louis Vuitton menswear in 2018, making him one of the few black designers to lead a major French fashion house. The casting for his debut Vuitton runway show was heavily BIPOC and included several rapper friends, as if he were signalling the traditional fashion world that he was setting a new agenda. Which he did.

 

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Abloh paved the way for other non-fashion-schooled creatives to be seen and heard in the upper echelons of the luxury business. Fittingly, he was named one of Time’s 100 Most Influential in 2018. Abloh was a visionary and a disruptor. But he was a husband, son, father and friend too. And that is the greatest loss of all.

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Toronto Galas Resume with Bloor Street Entertains Fundraiser for CANFAR https://fashionmagazine.com/events/bloor-street-entertains-fundraiser-canfar/ Fri, 26 Nov 2021 19:55:57 +0000 https://fashionmagazine.com/?p=440149 The Toronto gala scene came bouncing back on Nov. 25 with Bloor Street Entertains, an annual fundraiser for the Canadian Foundation for Aids Research (CANFAR). Last year’s event was a virtual one, like many charity fundraisers over the past 20 months. But the CANFAR team carefully plotted to ensure that this year’s 25th anniversary edition […]

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The Toronto gala scene came bouncing back on Nov. 25 with Bloor Street Entertains, an annual fundraiser for the Canadian Foundation for Aids Research (CANFAR). Last year’s event was a virtual one, like many charity fundraisers over the past 20 months. But the CANFAR team carefully plotted to ensure that this year’s 25th anniversary edition was a safe in-person soirée.

More than 850 guests gathered in a range of locations on or near Bloor Street and at several after-party spots further afield.

CANFAR ambassadors appeared at each venue of Bloor Street Entertains to share the story of how their lives have been impacted by the virus. “I was born with full-blown Aids,” 23-year-old Ashley Rose Murphy told a rapt crowd at Tiffany & Co. Her early years were filled with hospital visits – “I thought all kids did that,” she shared. But when she was seven, her adoptive parents told her the real reason for all the doctor appointments. Thanks to advances in treatment and one pill a day, Murphy lives a relatively normal life, though not without stigma. “A bunch of parents at my school got together and told the principal they wanted me out because of my health status,” she recalls. “That principal stood up for me and told them their kids could leave; I was staying.”

Fighting stigma is one effort the $1.1 million raised will go towards. Another is spreading the word about self-testing kits, which became available in Canada last year. More than 65,000 Canadians are living with HIV, though 14 per cent aren’t aware of their status. CANFAR’s goal is to eliminate new HIV transmissions in Canada by 2025 through increased prevention.

Click through to see photos from the event.

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Chanel Brought John Legend and Faouzia Together for its Dazzling Dubai Show https://fashionmagazine.com/style/chanel-dubai-cruise-collection/ Wed, 03 Nov 2021 15:16:37 +0000 https://fashionmagazine.com/?p=438461 Two legends — one a storied fashion house and the other, a performer named John — came together this week in Dubai as Chanel restaged its 2021/2022 Cruise collection for one of the world’s most glamourous audiences. The show had first been unveiled in May at an old limestone quarry in Provence, France, a region […]

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Two legends — one a storied fashion house and the other, a performer named John — came together this week in Dubai as Chanel restaged its 2021/2022 Cruise collection for one of the world’s most glamourous audiences.

The show had first been unveiled in May at an old limestone quarry in Provence, France, a region that inspired the flower prints in the collection. The quarry was the location for the film The Testament of Orpheus directed by artist Jean Cocteau, a friend of Gabrielle “Coco” Chanel’s. There was no audience at the presentation so Chanel chose Dubai as the spot for its first post-pandemic destination show with invited guests.

Virginie Viard blended mod and punk vibes for looks that brought a fun edge to the tweed suits and flowy dresses — a bejewelled smock worn over fishnets with holes is just one example of the designer’s playful irony.

Photography courtesy of Chanel

There was just as much fashion off the runway, though. Clients, press and stars of the Middle East and beyond busted out the bling with wall-to-wall Chanel including sequinned jumpsuits and glittering evening gowns from recent collections. And even women who chose to cloak themselves in black abayas clutched novelty purses — from a grapefruit-sized pearl to a giant bottle of Chanel No 5.

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Penélope Cruz. Photography courtesy of Chanel

Star power included Penelope Cruz, who was cruising the scene in a white Chanel suit cut out in the back so a twinkling logo pendant dangled against her smooth skin. But it was John Legend who shone brightest — the singer flew in to perform five songs including the duet “Minefields” with Canadian-Moroccan singer Faouzia.

“It’s our first performance live in the same room together,” Faouzia pointed out before the show, relaxing in black satin pants and a turtleneck dotted with pink CC’s before changing into a white miniskirt and blazer for the stage. The pair had performed the song live once before for a Kelly Clarkson show but that was virtual, with Faouzia in Canada and Legend in LA.

Faouzia’s love of Chanel is a family affair — her sister and mother’s fragrance of choice is Chance. “Every time I smell it, I think of them. So even when I’m travelling I can be brought right back to them, just with a bottle of perfume.”

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Beyoncé and Jay-Z Go On a Date with Tiffany & Co. https://fashionmagazine.com/flare/beyonce-jay-z-tiffany-film/ Tue, 19 Oct 2021 14:00:40 +0000 https://fashionmagazine.com/?p=435423 Who wouldn’t want want to sit in on a date with Beyoncé and Jay-Z? Tiffany & Co.’s just-released “Date Night” — a bonus film to its September “About Love” campaign — chronicles a night out with the notoriously private couple. A love letter to NYC, the short includes references to Breakfast at Tiffany’s in line […]

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Who wouldn’t want want to sit in on a date with Beyoncé and Jay-Z? Tiffany & Co.’s just-released “Date Night” — a bonus film to its September “About Love” campaign — chronicles a night out with the notoriously private couple. A love letter to NYC, the short includes references to Breakfast at Tiffany’s in line with the previous film, as well as plenty of black and white footage to set a sultry mood. However, the true star is Beyoncé and Jay-Z’s daughter, Blue Ivy, who crashes the romantic evening, offering viewers a glimpse into the playful side of the powerhouse duo.

On this project, Beyoncé is reunited with Ghanaian-Dutch director Emmanuel Adjei following their previous work together on 2020’s visual album ‘Black is King.’

In addition to the film, the jeweller has partnered with BeyGOOD and the Shawn Carter Foundation to create the Tiffany & Co. About Love Scholarship Program. Tiffany & Co. has pledged USD $2M in scholarship funding for students in the arts and creative fields at Historically Black Colleges and Universities (HBCUs).

“Date Night” follows another dreamy Tiffany & Co. short featuring the couple. We don’t doubt that Beyoncé and Jay-Z’s day-to-day is filled with private jets, chauffeured cars and lots of bling, which is why the intimate one-minute “About Love” film could probably double as a documentary.

In the video for the recently released campaign, Queen B sings “Moon River,” the song made popular by the 1961 film Breakfast at Tiffany’s, while singing towards Jay-Z on a private jet (not quite the “two drifters” that Audrey Hepburn sang about in the film while sitting on a window ledge looking out onto a fire escape). Just before the Tiffany & Co. short closes, Beyoncé pulls up in a chauffeured car to reunite with her hubby at Orum House, an architectural masterpiece overlooking Bel Air.

Another clip has Beyoncé tinkling on a grand piano, while the 128.54-carat Tiffany Diamond dangles down her back. That would be the same mega rock that played a starring role in the Tiffany & Co. print campaign released in August. Jay-Z, who in one scene watches a home video he shot of his beloved in (where else?) a private screening room, wears cufflinks reimagined from the legendary Jean Schlumberger Bird on a Rock brooch.

Tiffany & Co. describes the film as “stripped down and raw, capturing the Carters’ indescribable chemistry through stolen moments of intimacy.” The longing felt between the film’s co-stars is tangible as they share various tender moments.

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What Did the Louis Vuitton Protestors Really Accomplish? https://fashionmagazine.com/style/louis-vuitton-spring-summer-2022-protest/ Tue, 05 Oct 2021 18:57:24 +0000 https://fashionmagazine.com/?p=436759 It is a privilege to walk on a Paris runway. So to watch the Louis Vuitton Spring/Summer 2022 show video and see two protesters amid the models sparked several thoughts — the main one being, “Where is security?” The fact that the interlopers made it all the way to the finale was even more disheartening. […]

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It is a privilege to walk on a Paris runway. So to watch the Louis Vuitton Spring/Summer 2022 show video and see two protesters amid the models sparked several thoughts — the main one being, “Where is security?” The fact that the interlopers made it all the way to the finale was even more disheartening.

Decades ago, Linda Evangelista complained to a reporter, “Someone could come backstage with a gun and shoot us all,” or something along those lines. Whatever her exact words were, the sentiment was 100% accurate: fashion shows can be a target for people who want attention and sometimes security can be breached. Back in the day, it was by anti-fur protesters. This time a banner was carried onto the Louis Vuitton Spring/Summer 2022 runway with a message about over-consumption. They needn’t have bothered. We all know the environmental impact of clothing. But saving up to buy one piece of Louis Vuitton that will be cherished forever rather than blowing the budget on piles of fast fashion that will be tossed into landfill soon after is actually the more sustainable choice. So, protestors, pick your runway wisely next time.

The transgression didn’t take away from the power of the procession under a row of glittering chandeliers at the Louvre. The theme of the collection was the idea that time is of no consequence and there was a lot of blurring of day and night, sport and dress-up. Think a pretty lace skirt with wide hip panniers anchored by a wrestling-type boot and you’ve got the gist.

Time was much more specific earlier in the day at Chanel where designer Virginie Viard recreated an ’80s-style runway with photographers standing in deep trenches in front of the first row. This was before autofocus technology had been perfected, later allowing photographers to shoot from the back of the room with long lenses. Aiming up at the models produced awful angles, which you will immediately see looking at show images from that period. But Viard was simply setting a mood. “I used to love the sound of flashbulbs going off at the shows in the ‘80s, when the models were on a raised runway. I wanted to recapture that emotion,” she said in a press release. Her smiling models and denim suits, fishnet skirts and butterfly prints definitely stirred up memories of an easier, breezier time.

ICYMI, here are some looks from both shows.

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Lily-Rose Depp Rules TIFF Red Carpet in Chanel https://fashionmagazine.com/style/celebrity-style/lily-rose-depp-tiff-chanel/ Fri, 17 Sep 2021 18:32:36 +0000 https://fashionmagazine.com/?p=435792 Lily-Rose Depp practically shrieks with laughter when asked if the pink Chanel fabric that hugs her waist is stretchy. “No, it’s not stretchy!” she responds between poses for a photographer after the world premiere of Silent Night at the Toronto International Film Festival (TIFF). “It’s a corset.” It’s only when she turns around that we […]

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Lily-Rose Depp practically shrieks with laughter when asked if the pink Chanel fabric that hugs her waist is stretchy. “No, it’s not stretchy!” she responds between poses for a photographer after the world premiere of Silent Night at the Toronto International Film Festival (TIFF). “It’s a corset.” It’s only when she turns around that we see the delicate lacing that crisscrosses up her back, giving the impression that the dress has been moulded to her middle. Which it pretty much has. As a Chanel ambassador, the couture atelier in Paris would have a dress form of Depp’s torso on which they create her red carpet looks.

Depp’s wardrobe in the film isn’t nearly as fancy. She plays Sophie, the youngish girlfriend among a close circle of school friends who reunite for Christmas in the English countryside. It’s everyone’s last Christmas, actually. Silent Night, which is written and directed by Camille Griffin, starts off as a rather typical holiday tale. But things get dark quickly and in the end, (almost) everyone dies. The spoiler is intentional, so that viewers who might be triggered know what they are getting themselves into. But for a doomsday story, it’s surprisingly funny. Though Depp’s character delivers some of the more doleful moments.

Motherhood in the spotlight at TIFF

“Sophie broke my heart in a lot of ways,” Depp says. “She’s a mother-to-be and feeling all these maternal instincts of wanting to protect her baby. But life is being taken away from them in real time. And we see her not be able to fulfill that primal desire.”

Griffin’s own three sons also star in Silent Night, including Roman Griffin Davis, best known as JoJo Rabbit in the film of the same name. And we can’t help but feel that Griffin wove her own emotions as a mum into much of the script.

Would it be a different film if it had been written by a man?

“Absolutely,” Depp says. “Motherhood is an important part of the story. And even more so for Camille because her own three children were in the movie. And the concept came from her kids watching some catastrophe movie and asking her, ‘What would happen if this really happened to us?’”

Motherhood was also top of mind for Keira Knightly, who plays the hostess of the Christmas gathering.“Keira first read the script when she was pregnant and then had a little baby when we were making the movie. So I’m sure that informed a lot of her decisions.” Depp adds that she would like to be a mother herself someday.

Chanel advancing women writers

The female point of view is precisely the reason why Chanel has created a new Women Writers’ Network in partnership with TIFF. The multi-year program will provide funding to help advance the careers of women and non-binary writers. The network includes access to script consultants and established screenwriters, peer-to-peer sessions with emerging filmmakers, and a talent summit that allows writers to showcase their work to producers and other industry insiders.

Is that the sort of thing Depp sees herself doing down the road? “I’m a big journaler, but professionally not at this moment,” she says. “But never say never.”

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Suzanne Rogers Will Not Attend This Year’s CAFA Awards Event https://fashionmagazine.com/style/suzanne-rogers-donald-trump-photo-mar-a-lago/ Wed, 05 May 2021 22:00:53 +0000 https://fashionmagazine.com/?p=419958 Vicky Milner, President of the Canadian Arts and Fashion Awards, announced late this afternoon that Suzanne Rogers will not attend this year’s CAFA Awards event. Rogers has been front and centre of every CAFA Awards since the event began in 2014. Here is the text of the email Milner sent out around 5:30 pm: We […]

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Vicky Milner, President of the Canadian Arts and Fashion Awards, announced late this afternoon that Suzanne Rogers will not attend this year’s CAFA Awards event. Rogers has been front and centre of every CAFA Awards since the event began in 2014. Here is the text of the email Milner sent out around 5:30 pm:

We are so proud to celebrate and honour Canadian fashion’s great creatives virtually at the upcoming Awards on Wednesday, May 19, 2021.

A first for CAFA, the digital format democratizes the Gala while acknowledging our homegrown talent. This year has undoubtedly seen its share of challenges and hardships, but it has also taught us that we are stronger when we stand united.

CAFA’s aim has always been and continues to be to honour outstanding achievement and emerging talent in the Canadian fashion industry. Diversity and inclusion have always been a part of CAFA’s core values as is the goal of growing a stronger appreciation of Canadian talent both at home and abroad.

We want to ensure that CAFA’s focus is about celebration and shining a light on our amazing talent.  As such, CAFA has made the decision to defer The Suzanne Rogers Designer Grant Award and Suzanne Rogers will not be attending this year’s Gala.

We sincerely thank you for your continued support and hope you will be able to join us to celebrate Canada’s most fashionable night!

The article below was originally published on May 2, 2021 and provides the context for CAFA’s decision:

On the morning of Saturday, May 1, Suzanne Rogers posted an Instagram Story posing with former U.S. President Donald Trump at his private club, Mar-a-Lago, in Palm Beach, Fla. Given that Rogers has positioned herself as the fairy godmother of Canadian fashion, members of that community reacted immediately with condemnations, citing Trump’s lack of support for BIPOC and LGBTQ+ people. In 2016, a $1 million donation from The Suzanne and Edward Rogers Foundation established the Suzanne Rogers Fashion Institute at Ryerson University to support emerging designers. Last November, the Foundation provided another gift of $1 million to the SRFI. But Rogers’ post seems to have trumped, so to speak, her previous financial goodwill.

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A since-deleted Instagram Story from Rogers’ evening at Mar-a-Lago. Photography via Instagram.com/suzannerogerstoronto.

Suzanne Rogers, her husband Edward and two sons dined at Mar-a-Lago on Friday and posed for a photo with Trump at the end of the evening. Rogers posted the photo with the caption, “A Special Way to End the Night!” By midday Saturday, after outrage began circulating online, Rogers took down the post.

Toronto designer Michael Zoffranieri was one of the first to express his dismay on social media, by reposting Rogers’ post, adding the caption, “Will Canadian fashion accept this?”

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A screen capture of the since-deleted Instagram post first shared by @ryersonfashion. Photography via Instagram.com/ryersonfashion.

Phones began buzzing all over the city with members of the fashion community voicing their disapproval on social media and encouraging others to do the same. The Ryerson School of Fashion also posted a statement inviting “Suzanne Rogers to enter into a dialogue with our faculty, staff and students to discuss the impact that Trump and his community has had on further harming members of the fashion industry who are low income, Black, brown, Asian, disabled, Indigenous, trans, queer, and/or part of other systemically marginalized communities.”

The post was later removed and replaced with a message from Ryerson University which includes the following: “We do not believe social media is the appropriate platform to judge the actions of others.” It also goes on to say, “We will be respectful of differing viewpoints,” which did little to quell the ire, especially among those associated with the Ryerson School of Fashion.

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An Instagram Story shared by Ben Barry. Photography via Instagram.com/bendrakbarry.

Ben Barry, the Ryerson School of Fashion’s Chair and Associate Professor of Equity, Diversity and Inclusion, shot back on Instagram Stories with a message that the Ryerson University statement “are Ryerson’s words not mine or our school,” referring to the School of Fashion.

Various observers began questioning the integrity of Ryerson University, and whether they are motivated by the Rogers family’s deep financial contributions to the school, including the Ted Rogers School of Management.

Members of the SRFI Advisory Board began resigning, including Hudson’s Bay Vice-President and Fashion Director Tyler Franch and communications consultant Lisa Tant.

 

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A post shared by Anjli Patel (@anjlitoronto)

On Sunday, Toronto lawyer Anjli Patel, who teaches a fashion law course at Ryerson, wrote a three-part letter to Mohamed Lachemi, president of Ryerson University, and posted it on her Instagram account, @anjlitoronto. It notes that the School of Fashion’s guiding principles are inclusion, decolonization and sustainability. She encourages others to write to the head of the school as well.

On Tuesday, May 4, Rogers posted a statement on her Instagram account. “I have always believed in equality, diversity, inclusiveness, and respect for all,” the statement begins. “The Suzanne Rogers Fashion Institute, at Ryerson University, is a true reflection of diversity in Canadian fashion.”

The second paragraph of Rogers’ Instagram statement goes on to address the Donald Trump photo in question, saying that she has no relationship with the former president, “good or otherwise,” and that she had never met him before that night. “No political statement, on any policy, was intended by the photograph. Taking and posting it was done with any considering the false assumptions and implications that would be made about my personal beliefs. I regret that my actions caused anyone to question my values or commitment to the communities and causes my family and I hold so dear,” she writes. Noticeably absent from the statement is acknowledgement that calling an encounter with Trump, however brief, “special” would be hurtful and concerning to said communities.

At the time of this publication, comments on the post were disabled.

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Kristen Stewart Was The Only Audience at the Chanel Métiers d’Art Show https://fashionmagazine.com/style/kristen-stewart-chanel-metiers-dart-show/ Fri, 04 Dec 2020 01:47:27 +0000 https://fashionmagazine.com/?p=412748 Chanel invites are always precious – but even more so for the Métiers d’Art collection revealed today outside Paris to an audience of one. The lucky recipient of said single invite? Kristen Stewart. The actor and Chanel ambassador viewed the show at the 16th century Chateau de Chenonceau in the Loire region which is said […]

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Chanel invites are always precious – but even more so for the Métiers d’Art collection revealed today outside Paris to an audience of one. The lucky recipient of said single invite? Kristen Stewart.

The actor and Chanel ambassador viewed the show at the 16th century Chateau de Chenonceau in the Loire region which is said to have been one of Catherine de Medici’s favourite residences. And no wonder. Models walked the floor of a regal ballroom built over the Cher river, with the checkerboard dance floor turned into graphic sequinned minis and a long fringed tweed skirt.

Designed by Virginie Viard to show off the talents of the Métiers d’Art, a group of embroidery, feather and other handcrafting houses owned by Chanel, the collection also featured flowers from the gardens embroidered on a jacket lapel, Renaissance-style ruffs in white organza, tasseled earrings nodding to the passementerie fringe on bed pillows, and the structure itself twinkling in the style of a child’s toy from waists and bags.

Much of the collection is black – a favourite Coco Chanel hue, and the only colour worn by Catherine de Medici after the death of Henri II, King of France.

“I was struck by the storytelling,” Stewart said in a video released after the show.  “I mean, the clothes are beautiful, but you could feel the generations of storytelling of this place folding in on each other.”

Snag your own front row seat to the show by hitting play below:

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Texture Talk: 3 Canadian Petitions to Sign to Demand Textured Hairstyling is Taught in Beauty School Ed https://fashionmagazine.com/beauty-grooming/hair/canadian-beauty-school-petitions/ Fri, 13 Nov 2020 23:17:02 +0000 https://fashionmagazine.com/?p=411533 There’s a maddening lack of salon pros trained to work with textured hair, which can result in shame, rejection and embarrassment for clients. Here are three Canadians leading change with petitions demanding that textured hairstyling becomes a standard part of Canadian beauty school education. Nancy Falaise, Montreal With a goal of 10,000 signatures, salon owner […]

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There’s a maddening lack of salon pros trained to work with textured hair, which can result in shame, rejection and embarrassment for clients. Here are three Canadians leading change with petitions demanding that textured hairstyling becomes a standard part of Canadian beauty school education.

Nancy Falaise, Montreal

PHOTOGRAPH COURTESY OF NANCY FALAISE

With a goal of 10,000 signatures, salon owner Nancy Falaise aims to present a completed curly hair program to the Ministry of Education and Higher Education of Quebec that would introduce all curl patterns (wavy, curly and coily) into beauty school curriculum, beginning with the fall 2021 semester. “I’d like them to either use my program or [have me] help them create one. A good hairdresser, even if they specialize in one thing, should know the basics of everything. Hair is hair,” she says.

Solange Ashoori, Toronto

COURTESY OF SOLANGE ASHOORI

Owner of Toronto’s Ziba Style Bar, an inclusive salon that caters to all hair types, Solange Ashoori’s petition is addressed to the Ontario Ministry of Training Colleges & Universities and calls for a major overhaul to all post-secondary hair programs in the province that tackles the insufficient education of curls, specially 3C to 4C curl patterns. For Ashoori, the public response to her petition asking for 10,000 signatures has been fascinating. “We weren’t even expecting the petition to get as big as it did. That reiterates that the need for this change is imperative,” she comments. “I hope that the ministry will accept our help and listen to the demands of thousands of stylists and people who are hopeful that this change will be implemented.”

Chloe Streit, Calgary

Photography Courtesy of BRENDAN KLEM STUDIO

Grade 12 student Chloe Streit is demanding that secondary school cosmetology courses in Alberta include modules on Black hair through her petition pushing for 15,000 signatures. The young hairstylist-in-training was inspired to spark change after her employer, modeling agency Mode Models, released a new booking policy in the wake of the Black Lives Matter protests that now charges clients if a Black model shows up on set to hairstylists ill-equipped to style their natural hair. “As a white woman in society, I started thinking about the ways my race gave me an unfair advantage in life,” says Streit. “I immediately thought of my cosmetology class and the ways in which our curriculum is so skewed to only catering to [Caucasian hair]. There’s very little representation of BIPOC cultures or trends, which I thought was utterly ridiculous and upsetting.”

Missed our last Texture Talk column? Click here.

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Cher Bai Is an Instagrammer, Entrepreneur and Mindful Shopping Advocate https://fashionmagazine.com/style/cher-bai/ Sat, 11 Apr 2020 14:00:05 +0000 https://fashionmagazine.com/?p=397955 An economics grad turns shopping into an influential blog and keeps on moving with the times.

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Chinese imprints of Vogue, Elle and Cosmopolitan were plentiful at Cher Bai’s home in Shanghai. And her mom, a vice-president of a major department store, set a stylish example in silk blouses and blazers from Celine and Chanel. But Bai was confined to a boarding school uniform while she was growing up. So by the time she started studying economics at the University of Toronto, she had a pent-up appetite for fashion that was voracious. “I went crazy,” she says of her weekly shopping sprees at Club Monaco, Aritzia and Zara.

After graduating in 2014, Bai worked as a legal assistant in a law office, but her fashion consumption was still going full steam. “My friends were like, ‘Why not share it online?’” she says. “So my blog and Instagram are called CherMyCloset.” (And, yes, she is named after that Cher.)

After only one year, Bai’s little venture was paying the bills, largely through brand partnerships. She quit her law job and is grateful that her family didn’t balk. “All Asian parents want their kids to be doctors, lawyers or bankers—but not my mom,” she says.

Bai now has more than 200,000 followers on Instagram, and she has stepped up the level of brands she wears to include Tibi, Chanel and Low Classic (a Korean favourite). She recently added the Louis Vuitton Multi Pochette Accessoires to her “blogger bag” collection. And a highlight of the past year was a makeup collab with M.A.C that is sold exclusively at Hudson’s Bay.

cher bai
Photography by Porus Vimadalal. Styling by Lucia Perna. Creative direction by George Antonopoulos. Art direction by Danielle Campbell. Hair and makeup, Susana Hong for P1M.ca/Armani Beauty. Hair and makeup assistants, Arielle Park, Kaila Baker, Romy Zack and Sierra Elliott. Manicures, Leeanne Colley for P1M.ca/Tips Nail Bar. Fashion assistant, Pouyan Reisdanaee. Photography assistants, Arash Jahromi and Saishi Xu. Jacket, shorts and shoes, prices upon request, Chanel.

Still, as a blogger in a saturated market, Bai says she needs a Plan B. Hers is a fashion jewellery collection called TJE—the T is for her husband, Todd Xu, the J is for their two-year-old daughter, Jade, and the E is from her name.

Xu is a trained engineer who has been working as Bai’s full-time photographer. “He loves drawing and painting and has a more artistic side than I do so he does most of the jewellery design,” she says. “I do the social media for the brand.”

With so much time spent on social media, Bai is hyper-aware of shifting moods, including the movement toward more mindful shopping. “I have a responsibility to recycle clothes and wear them again, and I will shop less at H&M and Zara,” she pledges. “But it’s hard for influencers. I have to post at least once a day, and I can only post an outfit maybe two or three times. You have to always wear something new and trendy. You have to be on top of your game.”

How does she deal with that unrelenting pressure? “At first, I felt very pressured to buy a purse because it was trendy, even if I didn’t like it,” she says. “But now, I feel like I can be me. You have to stay true to yourself. Nowadays, everyone is a blogger and they shoot in similar places and have similar feeds with similar tones to their photos. Your strong suit is that no one is you. You have to be you.”

See the rest of this issue’s cover profiles here.

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Aleece Wilson on Finding Self-Acceptance in the Modelling Industry https://fashionmagazine.com/style/aleece-wilson/ Fri, 10 Apr 2020 12:00:04 +0000 https://fashionmagazine.com/?p=398024 “When I was little, I used to take my brother’s clothes,” says New York-based model Aleece Wilson, who grew up in Windsor, Ont. “I wanted to wear what he wore—like Dickies work clothes.” Wilson and her brother copied their dad, a truck driver who wore Dickies for work. And Wilson says she still wears the […]

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“When I was little, I used to take my brother’s clothes,” says New York-based model Aleece Wilson, who grew up in Windsor, Ont. “I wanted to wear what he wore—like Dickies work clothes.” Wilson and her brother copied their dad, a truck driver who wore Dickies for work. And Wilson says she still wears the brand, which has since come out with a line for women.

For our FASHION cover shoot, though, Wilson arrived in her uniform of all-black layers—a typical off-duty-model look. But Wilson is anything but typical. With her luminous sage-green eyes and galaxy of freckles, she was snapped up as soon as she walked in the door of Toronto’s Elite Model Management in 2013. She has since travelled around the world, shooting in Barcelona and walking in a Tommy Hilfiger show in Shanghai.

“All of that is very surreal to me,” she says. “I never thought I would go to these places. We didn’t have a lot of money to travel when I was younger. So I am very thankful for all of these opportunities and experiences.”

The achievement must feel even sweeter given that Wilson was bullied while growing up—even by the three other black girls at her school who all relaxed their hair. So at about age eight, she convinced her mother to let her start relaxing her hair, too.

Aleece Wilson
Photography by Porus Vimadalal. Styling by Lucia Perna. Creative direction by George Antonopoulos. Art direction by Danielle Campbell. Hair and makeup, Susana Hong for P1M.ca/Armani Beauty. Hair and makeup assistants, Arielle Park, Kaila Baker, Romy Zack and Sierra Elliott. Manicures, Leeanne Colley for P1M.ca/Tips Nail Bar. Fashion assistant, Pouyan Reisdanaee. Photography assistants, Arash Jahromi and Saishi Xu. Dress, $3,610, Moschino at The Room at Hudson’s Bay. Earrings, $3,810, and bottom necklace, $3,980, Ambush at Archives Boutique. Top necklace, $160, Jenny Bird. Middle necklace, $130, Cuchara. Rings, from $65, Biko.

“It’s hard to put into words how it makes me feel to have my natural hair. I feel more like myself. I feel more in love with myself. It’s like I was never myself until now. It feels amazing.”

“She didn’t want me to, but she saw how sad I was,” says Wilson, who only recently, at 24, decided to stop. “It’s hard to put into words how it makes me feel to have my natural hair. I feel more like myself. I feel more in love with myself. It’s like I was never myself until now. It feels amazing.”

And those freckles, which drew taunts when she was a child, have become one of her greatest assets. “They’re a huge part of my look,” she says. “Sometimes [makeup artists] will cover the beauty mark by my eyebrow or the ones close to my nose. But if I catch them doing it, I’ll rub [the makeup] off.”

So how far does Wilson feel we have come in accepting different definitions of beauty? “It’s starting to evolve, but I think we can do better,” she says. This is especially true in terms of runway sizes and measurements—most samples are still created for rake-thin bodies, something she says is just plain unrealistic. “My hips are too big for Paris,” she grimaces, referring to her measurement of 36 to 37 inches. 

And how does that make her feel? “Sad,” she admits. But her growing sense of self-acceptance helps. “If a designer does like me, they like me for me,” she says. “And I don’t want to have to conform and change the way my body looks just so I can do one job—or for the pleasure of somebody else.”

See the rest of this issue’s cover profiles here.

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