Latest news with #couture
Vogue
a day ago
- Entertainment
- Vogue
Rosie Assoulin Resort 2026 Collection
Rosie Assoulin isn't trying to make your everyday wardrobe. 'They're little special moments,' she said of her resort 2026 offering—a mixture of playful prints, lively colors, and couture-inspired structure with sporty flourishes. 'It doesn't feel wasteful to me because there's that great white summer dress that you pull out every season. No matter what, it's getting worn. It could be 12 years old and it still feels fresh every time.' Assoulin is interested in creating clothing for occasions, be it a dinner party or a vacation. 'I want to feel great every day. They're precious few days that you get to take a trip,' she said. 'We want to create the wardrobe for that.' That's not to say the collection isn't versatile. From tops with convertible drapery to a maxi dress with a removable bustle (in both pink plaid and butter yellow colorways), Assoulin reminds us that just because her clothing may not be for everyday use doesn't mean it can't be reworn again and again. 'Not every occasion calls for a removable bustle, so why not have the option?' she said. While she has no shortage of occasionwear, there are also plenty of statement pieces for more casual moments. Much of her offering mixes sport and craft, from pants made of a floral upholstery-inspired fabric to the stem-green shorts with yellow accents. Even the yellow spongy crepe maxi dress with a scalloped drop waist is inspired by a vintage swimsuit. In limiting her output to two collections a year, Assoulin is challenging herself to edit. (Much of her excess creativity is diverted to her pottery habit, her bright yellow vases dot her showroom.) With this collection, she proves that maximalism can be done with restraint.
Vogue
4 days ago
- Entertainment
- Vogue
Christian Siriano Resort 2026 Collection
Every designer has their muses, but this season Christian Siriano took the concept to another level. Enlisting his close friend (and former Project Runway co-star) Heidi Klum to model his new collection, Siriano also based all of his new pieces on the star. 'This idea of a muse was really interesting to me—I've never done a collection inspired by somebody,' said Siriano. 'The whole idea was Heidi's life, and all the things that she would wear clothes to.' When one thinks of Heidi Klum, a glamorous wardrobe likely comes to mind. But for Siriano, it was all about melding her glitzy red carpet-ready aesthetic with something more demure and refined. 'I wanted things that felt romantic, but powerful,' said Siriano. 'Silhouettes that felt sculptural, yet had movement.' For the past few seasons now, the designer has been intentional about paring back his designs, and this season continued in that direction. The opening look, for instance, was his version of a classic black tuxedo—dialed up with a cropped jacket that exposed the abs. Another suiting look was made entirely of black French lace—a sheer construction exposing the skin underneath. For a designer known for theatricality and joie-de-vivre, these were his clear attempts at having fun, though the mostly-black color palette felt unusually somber for Siriano. Other looks, meanwhile, felt more in Klum's wheelhouse—not to mention that of Siriano's red carpet clientele. Consider the corseted gown wrapped in nude and black silk-tulle, or the light blue duchess satin strapless gown with a rosette detail (one of the few looks made in color this season). 'It was hard getting Heidi in color, she loves black,' Siriano said. 'But part of the fun was getting your muse to try something new—which is what we try to do with our customers.'
Irish Times
5 days ago
- Entertainment
- Irish Times
Jonathan Anderson is a reminder why we shouldn't push our kids into ‘bullshit jobs'
Jonathan Anderson, of Magherafelt in Derry, is the new creative director of both men's and women's couture at Christian Dior, one of the world's most prestigious fashion houses. His transition into the role will make him the first person since Dior himself to steer both couture lines simultaneously. Anderson announced the promotion on his Instagram with an image of a small ladybird atop a bed of variously sized leather appliqué shamrocks. He had already been at the helm of the brand's menswear output, and before that, creative director at Loewe (a Spanish luxury fashion house best known for its accessories), where his 11-year tenure was credited with completely resurrecting the brand as a commercial and critical success. In that period he oversaw garments that adorned Beyoncé on her momentous Renaissance tour (notably the famous 'hands' bodysuit ) and the red jumpsuit and breastplate that Rihanna wore to headline the half-time show at Super Bowl 2023 – a garment perfectly designed to allow the singer to reveal her second pregnancy at the end of the performance. You may not know Anderson, but you've likely seen his work in action. He also served as costume designer for recent Luca Guadagnino directed films, Queer and Challengers (both 2023). In addition to sales figures, it is Anderson's loyalty from these pre-eminent icons of popular culture and art, and the critical acclaim that seems to follow his every move, that have cemented his status as a polymathic force in couture. Anderson's is not the typical fashion upbringing. He grew up on a farm in Derry and his father is Willie Anderson, capped 27 times for the Irish rugby team – his brother Thomas (TJ) played for Ulster and Connacht. Jonathan, eldest of three, was born six weeks before his dad's first run-out for the national team. Father and son have spoken about parallels between sports and art, comparing the palpable nervous energy at Fashion Week to that in the dressingrooms of Lansdowne Road. Ditto for philosophies of captaincy and managing design teams – sycophants can't help you steer a winning vision, in a global artistic campaign or on a muddy pitch. Perhaps his English-teacher mother is a more obvious artistic influence. Jonathan sounds like a classic, ahead-of-the-curve teacher's kid. His father said : 'We were lucky in that we never had to tell them to go upstairs and study. They were all very driven to achieve. They get that from us, I think.' Anderson's reflections on his upbringing made me think about fostering young people's creative passions. Increasingly, it seems that the main appetite we should fight to instil in children is one for searching out things they care deeply about and within which they can immerse themselves. And – perhaps equally importantly – not taking it personally when our kids don't love what we love. READ MORE Anderson talks inspiringly about scavenging the world for influences, mentioning visual references as diverse as the luminous, 'chiffon-like' colour of Renaissance painter Pontormo's The Deposition of the Cross (1528), the candid Fire Island photography of the PaJaMa collective , and Glyn Philpot's portraiture. This passion for process seems an especially potent consideration in a world in which it's hard to know how technology will impact the future of work. Philosophising about which of us will or won't be 'replaceable by AI' is risky speculation. We shouldn't encourage people away from work towards which they are naturally inclined without very good reason. The right combination of process and purpose is powerful, and the moral and artistic dignity of meaningful work can be transformative, especially in a world heaving with careers that lack it I recently watched The Quilters on Netflix, a documentary highlighting a group of incarcerated men in a maximum-security Missouri prison who make personalised, often enormous, quilts for local foster children. The men receive a letter with specifics about colours and themes and set to work creating masterpieces. Far from the rarefied domain of haute couture, this passionate design team navigate satisfying clients' wish lists within the constraints of quilting's complex sewn geometry. At one end, we have a world of high-end design that enjoys global cultural attention as well as boundless material resources. The other manages with donated fabric scraps and is anomalous amid the more typical forced labour options in US prisons. It is easier to be excited about the quilts' ultimate recipients than buyers of fashion accessories that few can afford, which are bleak (albeit beautiful) tokens of a world unravelling under inequality. The highly emotional responses to thank you letters in The Quilters are a reminder that this kind of work, involving skilful manifestations of care for underprivileged people, benefits everyone. The men's descriptions of the redemptive power of craftwork resurfaced while I read interviews of Anderson discussing his artistic influences. The right combination of process and purpose is powerful, and the moral and artistic dignity of meaningful work can be transformative, especially in a world heaving with careers that lack it – so-called ' bullshit jobs', as David Graeber put it in 2018 . Work that feels purposeful seems to be in shorter supply than ever. As a knitter, I'm sensitive to the fact that some crafts are professionally unsustainable except in special cases. Every time I knit a cabled baby jumper for someone, and they say, 'You could sell these!' I think, 'It took 30 hours, what would I charge?!'. However, most creative practices are not like this. For argument's sake, even if we grant that artificial intelligence could replace a lot of creative work we do now, should we passively facilitate it? The replacement of people by technology involves individuals and institutions choosing systems over people for this work. Creative work, all the way from high-end fashion down, involves unique brain-to-hand activities that have historically been what we look to when we want to understand the lives of people in other times and places. We should be very slow to allow it to be outsourced to plunderous programmes scraping data from images – usually without permission – made by the very people it aspires to replace. Dr Clare Moriarty is a postdoctoral researcher working at Trinity Research in Social Sciences in Trinity College Dublin
Al Bawaba
6 days ago
- Entertainment
- Al Bawaba
Hailee Steinfeld married Josh Allen in couture wedding with three stunning Tamara Ralph gowns
ALBAWABA - Hailee Steinfeld and Josh Allen tied the knot in Montecito, dazzling guests with couture wedding fashion. On May 31st, Hailee Steinfeld and Josh Allen tied the knot in a wedding that was both elegant and romantic. The ceremony took place in Montecito, California, which is a stunning location. She wowed in three stunning outfits designed by Tamara Ralph, demonstrating that the event was more than just a wedding; it was also an extravaganza to celebrate haute couture. The wedding was inaugurated by Hailee Steinfeld, who wore a stunning white double-satin gown from Tamara Ralph's Fall 2024 line. The dress included a pearl-encrusted corset detail in a way that was discreet and subtle. This accent added a sense of elegance and femininity to the dress without compromising its already simple design. josevilla Instagram profile This outfit was differentiated even further by the tuxedo jacket that was fashioned from the same cloth as the rest of the ensemble. This appearance was a contemporary homage to the style that was prevalent in the past. In preparation for the formal wedding ceremony, Hailie opted for a gown that was fashioned to order by Tamara Ralph and was constructed of dazzling satin. The dress featured a corseted waist that accentuated her shape, and it had a flowing back skirt that offered a gentle movement to the structural design of the garment. josevilla Instagram profile The subtle touches, however, were what truly made this look wonderful. These accents included a single crystal rose from the Spring 2025 collection as well as sheer gloves that appeared to be a natural extension of the long, thin veil, which created an aura that was dreamlike and peaceful. At the moment when it was time to celebrate, Halle revealed her third and final Tamara Ralph look, which was likewise full of enthusiasm and energy. She gleamed in a gown that was completely covered in sheer sequins and embellished with successive layers of white ostrich feathers, which added a fascinating movement to each and every stride she took. The feathers gave her a light, playful sensation, as if the dress was intended expressly for dancing and dazzling. The feathery sleeves and sheer stocking gloves added a bit of drama to the ensemble, while the feathers gave her a delicate and playful feel.
Harpers Bazaar Arabia
12-06-2025
- Entertainment
- Harpers Bazaar Arabia
Two Decades Of Decadence: Armani Celebrates 20 Years Of Its Couture Creations
To celebrate two decades of Giorgio Armani Privé, Sasha Slater speaks to the Italian maestro whose exquisite couture has Hollywood enthralled Giorgio Armani is a quiet revolutionary, but a powerful one. This year, he celebrates the 50th anniversary of a brand whose aesthetic has transformed the red carpet over the decades from the frou-frou vulgarity of the Eighties to the impeccable elegance of today's Oscar winners – of whom he has dressed more than any other designer. His dominance of film's A-list came about by chance when what he calls 'the new Hollywood' of the late 1970s – actors such as Richard Gere and Diane Keaton – approached him. By the time Diane Keaton had worn an Armani jacket to collect her Best Actress Oscar for Annie Hall in 1978, and Richard Gere had smouldered in his unstructured blazers in American Gigolo in 1980, the Italian designer's takeover of Tinseltown had begun. When Jodie Foster wore a long-line single-breasted cream jacket and loose, sparkly matching trousers to pick up her statue for The Silence of the Lambs in 1992, it was, he says, 'definitely a turning point. His dominance of that year's ceremony was so complete that WWD renamed the Academy Awards, labelling them the Armani Awards. 'It all happened very naturally,' Mr Armani recalls now. 'Then I worked to ensure this connection would continue.' From that point on, what serious actress would consider facing the flash-bulbs in anything but Armani? The launch 20 years ago of Giorgio Armani Privé, the designer's made-to-measure line, was the logical next step. 'I felt the need for a new means of expression,' he explains. 'Haute couture allows me to explore a different side of my style.' Simultaneously 'a dream and a service', Armani's couture vision is no wild departure from the 90-year-old's guiding aesthetic, which he describes as 'clean, elevated and timeless.' That remains true whether you're buying an Armani candlestick, a piece of fine jewellery or a lipstick. But what Privé does allow him to do is to free his imagination. In his couture collections, he says, 'everything is precious, even what might not appear so.' Because each stitch is done by hand in his ateliers, it links him to the couturiers of the past, 'preserving ancient knowledge.' Characteristically, though, however challenging the techniques or expensive the materials maybe, he tells me: 'I like to hide the preciousness behind something that seems very simple.' That doesn't apply only to the marquee names striking a pose for the paparazzi. Mr Armani is adamant that his Privé designs are not 'garments made just for beautiful photographs or the runway, but creations for real clients.' Those clients, he accepts, have 'undoubtedly privileged lives,' but he remains convinced that 'haute couture has a role: a niche one but a very solid one.' So whether he is dressing a star for the Cannes film festival or a private client for her special occasion, 'the emotion is the same.' To begin with, he sought out: 'a specific type of woman to dress. And in a way, that woman was already looking for me – figuratively speaking – so it was a wonderful pairing.' That customer was searching, he believes, for clothes to convey 'an idea of strength, freedom and effortless elegance.' Other designers lace their catwalk models – and actresses on contract – into explosions of tulle or swathes of heavy velvet, whereas an Armani Privé piece should never: 'feel like a costume. It doesn't disguise or restrict. I offer everyone, both actresses and ordinary women, the chance to be themselves, just in a more streamlined and elegant version.' Although he says the vision behind his Privé collections has become 'more refined,' neither his style nor the demands of his couture clients have changed over the years. 'I knew from the beginning what I wanted: to find a balance between fantasy and reality.' As for the clients, made-to-measure creations are no longer solely for the aristocracy, but simply for women attending occasions that call for a unique way of dressing.' The constants of his Parisian Privé catwalks remain season after season: 'Impeccable day jackets and embroidered gowns are perhaps the styles that linger most vividly in the collective imagination.' For evening, he says: 'I love dark colours, black or midnight blue, but I also like a metallic shimmer to illuminate the clothes.' As for drawing the eye: 'I find embroidery and anything that catches and reflects the light particularly captivating.' For day, meanwhile, he leans towards 'neutral tones, perhaps broken up by unexpected accents of colour.' His private customers remain a closely guarded secret, and he demurs when asked who among his enormous A-list clientele stands out, but then admits, fabulously: 'I have a wonderful relationship with Sophia Loren.' Indeed. He dressed the Cinecittà legend for her 90th-birthday celebration last autumn in a white crystal-encrusted jacket – from Privé; where else? 'She is not only a beautiful woman,' he says now, 'but also extremely generous and courageous, [with a] magnificent candour.' He also shares a 'sincere friendship' with Cate Blanchett, who is on the front row at many of his Privé shows. 'She's a modern woman and always has a unique elegance about her because she's authentic and natural. I like her for her personality and independence – characteristics that defi ne my ideal of femininity.' The third of the illustrious trio of Privé clients he names is Nicole Kidman, whom he admires because of her talent and beauty, but even more because 'there is a naturalness and freshness about her that makes her shine without having to overdress.' At its best, the couture gown 'mirrors the special character of the woman who is wearing it'. Perhaps that is the true mark of Armani Privé: the fact that, far from adding distracting embellishment, the designs provide an impeccable frame, allowing the woman herself to shine. The Giorgio Armani Privé 2005–25 exhibition will be at Armani Silos in Milan from 22nd May to 28th December; Lead Image: Used Throughout: From left: Lila wears SS07 embroidered silk dress. Daria wears AW19 tulle dress. Jianing wears SS08 silk and organza dress, all Giorgio Armani Privé Photography by Agata Pospieszynska. Styling by Miranda Almond. Hair: Simone Prusso at Walter Schupfer Management. Make-Up: Chiara Guizzetti at Green Apple Italy, using Armani Beauty. Nail Artist: Sara Cuifo at Green Apple Italy. Models: Lila Pankova at M+P Models, Daria Malchuk at 26 Models Milano, Jianing Zhang at 26 Models Milano. Location: Palazzo Orsini, Via Borgonuovo, Milan
