Latest news with #Céline
Graziadaily
10-06-2025
- Entertainment
- Graziadaily
Forget White Trainers – Every Fashion Person Is Only Wearing This Colour Now
The year is 2011. Phoebe Philo - fashion's messiah, quiet commander and Céline's creative director - is closing her show. But this time, the moment of impact isn't stitched into hemlines or cut into tailoring. It's walking out with her. As she takes her final bow, the designer steps out in a uniform that's become something of a cut in itself: skinny jeans, a roll-neck (hair tucked in - a noted Philo-ism), and a white, conspicuously unbothered pair of Adidas Stan Smiths. Within a few moments, the groundwork had been laid for what was set to become the bestselling trainer of the last decade. Phoebe Philo at the Celine Autumn/Winter '11 show. ©Getty What followed was a golden age of '70s sneaker renaissance: an era of trainers that looked as if they might have belonged to the cooler sibling in a Wes Anderson film. The fashion set, Victoria Beckham, Raf Simons - and Philo again in 2014 - all stealthily contributed to the rise of the retro trainers, legitimising them in virtually every setting, with the exception, perhaps, of global politics. (Justin Trudeau, we're looking at you). Fast forward to now, and the retro sneaker hype hasn't lost its footing. If anything, it's sprinting ahead: take Wales Bonner's bonafide collaboration with Adidas, for example, which continues to sell out on sight, or look at the craze caused by Onitsuka Tiger's Mexico trainers. We've seen so many Stan Smith revivals or sportswear brands reissuing iconic styles from their archives (hello, Puma Speed Cats). Dries Van Noten has created vintage-inspired trainers, which are a masterclass in scarcity marketing, and if you're reading this, chances are that you, too, own a pair of Adidas Sambas - whether they're still in or not. The point is, retro trainers are the piece of footwear to which we'll never want to say goodbye. But in 2025, there's a notable caveat: all-white kicks no longer make the cut. Call it the limit of ubiquity, their cool having fallen victim to the trends inflation rate, or the fact that they have suffered death by repetition on mums at the school gate (and the cropped, skinny trousers and ankle socks combo didn't help). But, a piece of good news, the industry's tastemakers are switching things up. And if Philo were to give her stamp of approval today? Chances are, it would go to pale yellow sneakers. Already shot out into the mainstream by hamstring-bracing shorts king, Harry Styles, who wore Prada's skinny sole, collapsible heel style out for a stroll this summer, the sunshine-bright shoes aren't hard to find. Loewe's cult-y On collaboration brought forth a pair that fashion editors have bookmarked and backordered. Maison Margiela's newly-launched 'Sprinters' have arrived in a beige-could-be-sun-bleached-yellow colourway, and as for 'The Tennis' by Jacquemus in suede lemon sorbet? Practically extinct in popular sizes. From L-R: Jacquemus' The Tennis trainers; Loewe X On Cloudventure 2.0 trainers So, what's the takeaway? A happy trainer equals a happy life? Maybe. Or, perhaps, the trend pendulum has swung and we've temporarily eschewed white trainers for something with a bit more character until the oversaturated stampede of alpina white shoes has died down again. Either way, if you're contemplating a trainer upgrade this summer, might we gently suggest opting for a dopamine-inducing shot of colour for your feet? Scroll on to shop our favourite pairs below. 1. Onitsuka Tiger, Mexico 66 2. Loewe X On, Cloudventure 2.0 3. Jacquemus, The Tennis 4. Adidas Originals, Tokyo Shell Sneakers 5. Miu Miu, Tyre Sneakers 6. Russell & Bromley, Budds Retro Trainers 7. Prada, Collapse Re-Nylon Sneakers Henrik Lischke is the senior fashion features editor at Grazia. Prior to that, he worked at British Vogue, and was junior fashion editor at The Sunday Times Style.
Yahoo
05-06-2025
- Entertainment
- Yahoo
‘I Am: Celine Dion' will now compete for Exceptional Merit in Documentary Filmmaking at Emmys — so what's the difference?
Prime Video's documentary I Am: Celine Dion, which chronicles the iconic pop singer's battle with Stiff Person Syndrome, has been accepted to compete in the Exceptional Merit in Documentary Filmmaking category at the 2025 Emmys, Gold Derby has confirmed. This juried award, presented at the Creative Arts Emmys since 2005, honors documentaries that "showcase an exceptional filmmaker's vision, compelling storytelling, artistic innovation, and the ability to inform, transport, impact, enlighten, and create a meaningful, indelible work that elevates the art of documentary filmmaking." Notably, films selected for this category are not eligible to compete in Best Informational Series or Special or Best Documentary or Nonfiction Special. More from GoldDerby How the longtime 'Severance' cinematographer wound up directing Season 2's standout episode 'We could do this show forever': 'Somebody Somewhere' creators on final season, heart, and the humor of Bridget Everett The Making of 'Out of My Mind': Inside the groundbreaking Disney+ film redefining disability representation on screen What's the difference between Exceptional Merit in Documentary Filmmaking and Best Documentary or Nonfiction Special? According to the 2025 Emmys rulebook, documentaries with an aggregate theatrical release exceeding 70 days must enter the Exceptional Merit in Documentary Filmmaking category. They are ineligible for competition in the Documentary or Nonfiction Special or Hosted Nonfiction Series or Special categories. The television broadcast or streaming debut of these documentaries must occur within one year of their initial public exhibition, excluding film festival screenings, which do not count as theatrical screenings. Programs nominated for an Oscar in any category are also barred from submitting. In essence, the Exceptional Merit in Documentary Filmmaking category was created to celebrate documentaries that had a robust theatrical run before airing on television. For example, Super/Man: The Christopher Reeve Story, another standout film that was in contention for last year's Best Documentary Feature Oscar, will also compete in this category. Speaking to Gold Derby last year, director Irene Taylor reflected on her initial surprise when approached about the project. "I did not know Céline before this film," she admitted. "In fact, I was a little bit surprised when a producer contacted me — someone who had worked closely with her and her management in the past. She said she was thinking of me for this possible film that Céline was open to. I was surprised because my films are very much character-driven, but I had never focused on someone with as much celebrity as Céline has." As the film delves into Dion's struggles with a long-hidden illness, Taylor speculated why the singer chose her for the project. "I think Céline was looking for someone she could tell her secret to. That's really what the film is about — this unfortunate lie that she had been telling the world." Filmed more than two years ago, Taylor sought to focus the most pivotal and deeply challenging period in Dion's life. "It would have been out of bounds just to do a straightforward biopic when her body was going through this tumultuous detox off of medications. She was trying to figure out what was happening with her vocal cords. She was also at home with her children, adjusting to having the kind of time she hadn't had for decades. It was very clear that the film needed to focus on this exceptional period of her life." A performer since childhood, Dion's identity has long been intertwined with her role as a global entertainer. "Céline began performing before she was even a teenager, so she didn't necessarily know how to step out of that role," Taylor explained. "I wanted the film to have some balance between the struggle and that essential talent and joyful person Céline is at heart," she explained, adding that these elements helped "brighten up the film a little bit." One of the film's most harrowing moments captures Dion experiencing a medical crisis while undergoing therapy for her illness. Reflecting on the scene, Taylor revealed, "We call it a medical episode because her body just goes into this rigid stance, and we didn't know if she was breathing." Initially, the crew prioritized Dion's safety, but it quickly became clear that she was in capable hands. "Her bodyguard and her physical therapist had a protocol given to them by doctors of exactly what to do," Taylor explained. Ultimately, they decided to continue filming. "Céline had told us, 'Don't shy away. Always film, and I'll tell you to stop.' Remarkably, Céline never asked to see the footage — she trusted us to document her truth." I Am: Celine Dion is streaming on Prime Video. Best of GoldDerby Chloë Sevigny on Kitty Menendez and 'Monsters' fascination: 'People are endlessly curious about those who have privilege and abuse it' Jason Isaacs relives filming 'The White Lotus' piña colada scene: 'It was one of the reasons I was worried about taking the job' Kaitlyn Dever on playing 'horrible' characters in 'Last of Us', 'Apple Cider Vinegar': 'I just don't see any other option but to give 100 percent' Click here to read the full article.
Geek Vibes Nation
19-05-2025
- Entertainment
- Geek Vibes Nation
‘Love Letters' Review
What makes a good mother? Is it who mothered you? Your life experience? Instincts? Or is it something indefinable, a thing you will not know until you become one? This question is asked, if not answered, by Alice Douard's Love Letters. But every story about mothers (or any parents) has a different idea behind it, probably because we all have different mothers. This story, in some ways, follows the director's own experience with the adoption process in France. Céline (Ella Rumpf) and Nadia (Monia Chokri) are a married lesbian couple. They have decided, as many couples do, to have a child. But, of course, it is much more complex than for straight couples. They were able to get married in France, but had to leave the country in order to access In Vitro Fertilization (IVF) for Nadia. Plus, despite their marriage, Céline has no automatic rights to their child after birth. That is, unless she adopts the child. And even the adoption process is difficult. It will take most of a year and will necessitate several letters to be written in support of her relationship with the child. Given the plot, it would be very easy for this to become excessively focused on how unfair the system is towards people who do not fit the simple mold of being a straight couple. And yes, it is deeply unfair, but Love Letters is much more concerned with what this particular couple has to do in reaction to the unfairness. It is one thing to rail against unfair treatment, but if Céline and Nadia want a child, they must play by the equally unfair rules. The decision, from screenwriters Douard and Laurette Polmanss, to focus the perspective on Céline, who is not pregnant, is a seriously smart one, because it allows everyone, regardless of gender or orientation, to easily relate. It must be a difficult place to be, especially for a woman, to be in line to parent a child without the concern and care from others that comes from visual signs of pregnancy. Certainly, it helps that Rumpf is immensely talented, being able to subtly communicate complexity with minimal dialogue. And yet, they also manage not to give Nadia and, by extension, their relationship, short shrift. Both of these women seem like actual, living humans and not simply an extension of political ideology. They love, they disagree, they make up, they move forward together, even when things are difficult. The camerawork, helmed by cinematographer Jacques Girault, is organized nearly in documentary style. It feels both professional and deeply intimate, which is demanded by the subject material. If we see one of the two women as villains in any way, none of this holds together. But as Céline and Nadia move through their trials and tribulations, including reconnecting with Céline's mother, Marguerite (Noémie Lvovsky), there are beautiful imperfections shown that make them whole, and better, together. The mother-daughter relationship between Marguerite and Céline, which seems distant at its introduction, might have the most important interactions in the film. One might expect a knock-down, drag-out fight, an explosive moment that either severs the relationship or fixes all of the problems of a long life, both together and apart. But unlike most films, Douard chooses to focus on a sense of reality. Marguerite, being a successful musician, was not present for much of Céline's childhood, and their relationship suffered. She is not evil or terribly manipulative; she is simply a woman who did not fit the exact mold of Mother. Love Letters is clearly a deeply personal story, but one that is important to consider, especially for those who have never faced this kind of difficulty, and likely never will. The film incites a sense of empathy without ever treading in the easy waters of guilt. The truth that Love Letters analyzes is that the idea of fitting the prescribed definition of anything is a useless enterprise. Someone could appear to be the perfect mother, but behind closed doors is the worst imaginable. Despite not being the one to give birth, despite not having a perfect example of maternal care, who is to say that Céline will not be an incredible caretaker? What right does a government have to make her work so hard for what is a right for many men and women? Love Letters held its World Premiere in the Special Screenings section of the 2025 Cannes Film Festival. Director: Alice Douard Screenwriters: Alice Douard, Laurette Polmanss Rated: NR Runtime: 97m
Yahoo
12-05-2025
- Business
- Yahoo
Former California Privacy Enforcement Attorney Céline Guillou Joins Kelley Drye
Recent hire strengthens the firm's privacy law and state attorneys general practice capabilities and expands its California presence. New York, NY, May 12, 2025 (GLOBE NEWSWIRE) -- Kelley Drye & Warren LLP announced today that Céline Guillou, most recently a senior attorney in the California Privacy Protection Agency's (CPPA) Enforcement Division, has joined the firm's Los Angeles office as a special counsel, further enhancing Kelley Drye's nationally recognized Privacy and Information Security and State Attorneys General practices. Céline has considerable experience advising clients on issues related to data security, consumer protection matters, and compliance with state privacy laws. 'We are delighted to welcome Céline to Kelley Drye,' said partner and chair of Kelley Drye's Privacy and Information Security practice, Alysa Hutnik. 'Her understanding of the regulatory landscape, particularly in California, and her work with state attorneys general offices throughout the country, will be a tremendous asset to our clients navigating evolving compliance and enforcement challenges.' Céline brings a blend of experiences in both government enforcement and as in-house counsel. She was the first attorney of hire at the CPPA's Enforcement Division, where she reviewed consumer complaints and audited legal and technical aspects of business' compliance with the CCPA. She served as the lead attorney on multiple matters and collaborated closely with the Enforcement Division's technologists who provide support and expertise in connection with its investigations and litigation. In her role, she also collaborated on privacy matters with other regulators, including state AG offices, and brings strategic insight into nationwide enforcement trends and priorities. Prior to serving at the CPPA, Céline was senior privacy counsel at Instacart, where she executed and implemented strategies, policies, and processes to proactively maintain compliance with global privacy laws and identified opportunities for bolstering Instacart's privacy program. 'I'm thrilled to be joining Kelley Drye at such a pivotal time for privacy law in California and nationwide,' said Céline. 'What drew me to the firm was not only its strong presence in the regulatory space, but also the depth and caliber of its attorneys, who are known for delivering smart, business-oriented solutions. I look forward to working with this talented team and helping our clients proactively address their most pressing privacy and compliance needs.' Céline's arrival follows several recent additions and promotions in California, including the addition of Partner Kristine Pirnia and Special Counsel Catherine Cayce to the San Diego office in January, the promotion of California-based Litigation attorney Rebecca Durrant to partner in July 2024, and the addition of Labor and Employment Special Counsel Judy Juang to the Los Angeles office in April 2024. Céline received her J.D. from Columbia Law School and her M.L. from the University of Paris School of Law. Céline is a Certified Information Privacy Professional (CIPP/E). CONTACT: Laurena Liu Kelley Drye & Warren LLP 202-342-8545 lliu@ in retrieving data Sign in to access your portfolio Error in retrieving data Error in retrieving data Error in retrieving data Error in retrieving data
Time Out
05-05-2025
- Entertainment
- Time Out
All aboard! Titanique has finally called a closing date for record-breaking Sydney run
After more than 300 Céline-belting, wig-snatching, laugh-out-loud performances, Titanique is preparing to leave the dock one last time. This June, the outrageous and award-winning musical parody will unberth from Sydney's Art-Deco-style cabaret den, The Grand Electric, sailing off into the sunset — never to return to Australian shores (unless, of course, an iceberg demands an encore). Since Titanique opened in October, this Harbour City exclusive has become one of the hottest tickets in town, with our critic saying that this 'completely unserious' sequin-filled extravaganza will 'have you laughing so hard your cheeks hurt' in a rave five-star review. But unlike Céline's eternal ballad, this show will not go on. After several sold-out season extensions, the final performance has finally been called for June 22, 2025. So it's time to hit up your girls, gays, theys, and enthusiastic straight men, because you have a limited time left to experience this cult musical phenomenon before it sails away forever. View this post on Instagram A post shared by Alannah Le Cross (nèe Maher) (@alannurgh) For the uninitiated, this off-Broadway splash-hit is a gloriously camp, spectacularly unhinged Olivier Award-winning send-up of James Cameron's cinematic juggernaut that rewrites the tragic tale of Jack and Rose, putting none other than the Queen of Power Ballads herself – Céline Dion – at the helm. With cabaret icon Marney McQueen leading the Aussie cast as Céline Dion, this ridiculously fun show is never the same twice (in the lead up to the recent election, she had audiences cracking up over an impromptu sketch taking the piss out of a certain political party that was over-eager with the texts – watch it here). The cast also features Georgina Hopson (Phantom of the Opera on Sydney Harbour) as Rose Dewitt-Bukater (who we've also seen doing a spectacular job stepping in to play Céline!), Drew Weston as Jack Dawson, and a standout ensemble featuring Keane Sheppard-Fletcher, Matt Lee, Stephen Anderson, Abigail Dixon and Abu (as both The Seaman and The Iceberg – yes, really). 'Bringing Titanique to Sydney has been an unsinkable joy,' said producer Michael Cassel. 'We've laughed until we cried, Céline'd until our vocal cords gave out, and rode every comedic wave this show had to offer. The Sydney audience didn't just come aboard – they clung to the bow and screamed into the wind. I couldn't be prouder of the extraordinary cast and crew who kept the heart of the ocean beating strong.' Bringing a show like Titanique to Sydney was an unconventional choice for a major theatre producer like Michael Cassel (whose company is behind bringing hit musicals like & Juliet and Hamilton to Aussie shores). But goddamn, the success of this record-breaking season speaks for itself.
