NEW YORK (AP) — For decades, argues Andrew Bolton, the star curator of blockbuster fashion exhibits at the Metropolitan Museum of Art, we've all been looking at fashion through a flawed prism. We've assumed, he says, that hand-made garments are better, purer, fancier, more luxurious. And that machine-made garments are inherently inferior, even mediocre.
We're wrong, Bolton says, and his new Met exhibit opening this week, "Manus x Machina: Fashion in an Age of Technology," seeks to prove that the machine is an "equal protagonist" to the hand in creating the best fashions of our recent past, our present and our future.
"To me, it doesn't matter if a good designer makes a garment by hand or by machine," he said in a recent interview. "It's really about what result you want, what's your desired effect, and sometimes you can achieve it better by machine than by hand. So this exhibit (aims) to debunk the myths .... but also to come up with a new paradigm for fashion."
Bolton introduced his new exhibit to the media on Monday just hours before the annual Met gala, the hugely star-studded charity gala run by influential Vogue editor Anna Wintour for her 18th time this year. The evening brings in millions for the museum, and the red carpet is always a dizzying display of luminaries of film, music, sports and of course fashion.
Regular folks who aren't famous enough to score an invite to the gala can simply come see the exhibit beginning May 5. They'll be greeted, first, by a stunning wedding dress by Karl Lagerfeld for Chanel's 2014 couture collection with a massive golden train that, for Bolton, exemplifies the best sort of hand-machine fusion. The dress — made of a synthetic fabric called scuba knit — was hand-molded, machine-sewn, and then hand-finished, with intricate embroidery in pearls and gemstones that form a glittering baroque pattern.
"In total, the train required 450 hours of workmanship," Bolton says — and yet the machine process was as integral to the overall effect as the handiwork.
Bolton says he was inspired to create the exhibit, which covers fashions from as early as the late 19th century to the present, when he examined Yves Saint Laurent's famous 1965 "Mondrian" dress, reflecting the linear designs of the Dutch painter, in the museum's archives.
"We discovered it was made almost entirely by machine," he said Monday. He was surprised.
Some of the garments in "Manus x Machina," which is sponsored by Apple, are made mostly by hand, and some mostly or even entirely by machine. But most of them — from a diverse grouping of the world's greatest designers — are a combination of both.
The British designer Gareth Pugh, for example, presents two dresses from his recent collection that are made of plastic drinking straws, one in all black and one in all white. "Every straw was cut by hand," the designer explains in accompanying notes. They were attached, each individually, to a shift of machine-sewn black silk and wool.
On the more classic side, there's a 1953 Dior haute couture dress — machine sewn, and hand-finished with stunning artificial flowers, clover and grass in green, pink and purple silk floss. One would be hard pressed to imagine there's a machine-made element to it, but that's Bolton's point: Haute couture and ready-to-wear are overly strict definitions, in his view.
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"The gap is diminishing," he said in the interview. "Think about Sarah Burton (of the Alexander McQueen label). The embroidery is unbelievable, but it's still seen as ready-to-wear. To me the primary difference between haute couture and ready-to-wear is fit. Couture has always been about making a piece of clothing designed to fit one body, and ready-to-wear is about creating standardized sizes to fit many body types. But in terms of the finishing, in terms of the craftsmanship involved, that gap is diminishing. Do we even NEED two categories?"
As if to prove Bolton's point, a section of the exhibit on lacework includes the most traditional of items — an 1870 Irish wedding dress, for example, of hand-crocheted cotton lace, designer unidentified — and the most modern, but equally intricate. One white dress looks like it's made of laser-cut leather, but actually it's crafted from foam. The garment, by designer Thom Browne, was cut by a machine, sewn by a machine, and finished by a machine.
"It's very rare for me to make an item of clothing in which the hand is absent entirely," Browne writes. But he adds:black prom dresses uk
"I love the precision and perfection of machine-made clothes just as much as I love the imprecision and imperfection of handmade clothes."
Talks in two cities could end biggest labor confrontation in five years
Verizon Communications said it met with representatives for some 40,000 striking workers on Thursday and made a new “last, best final offer.” But union representatives were unimpressed.
Verizon said the new offer included 7.5% of total wage increases, maintaining current job security protections and some changes to pension and healthcare benefits. The company also offered some changes to its proposals for outsourcing work and making employees go on lengthy assignments to other cities, which have been among the union’s top issues.
“From the beginning, our goal has been to reach an agreement that’s fair to our employees, good for our customers and helps our company better compete in the digital world,” Marc Reed, chief administrative officer at Verizon, said in a statement. “This offer meets those objectives. A better offer would be hard to find.”
Representatives for the unions involved, the Communications Workers of America and the International Brotherhood of Electrical Workers, blasted the proposal. “The talks were extremely disappointing,” Robert Master, a spokesman for the CWA said of the unions’ assessment. “It does not seem serious.”
Thousands of Verizon VZ -1.30% employees from Massachusetts to Virginia who primarily install and support landline phones and the Fios fiber optic networkwalked off the job on April 13 after working without a contract for nine months. They have picketed Verizon retail stores and called for a boycott of the company’s services.
Thursday’s meeting was not the first since the strike started. Though previously unreported, the two sides held two short, unproductive meetings in the week following the beginning of the strike.
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The unions say Verizon wants to outsource call center jobs to Mexico and the Philippines, increase the use of non-union contractors and assign workers to another city for up to two months at a time. Verizon says it needs greater flexibility to cut costs at a time when wireline services are shrinking.
There has been no indication how long the strike might last from either side. A similar job action in 2011 lasted only about two weeks, but it then took another year for the sides to reach agreement on a new contract.
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The strike has yet to have serious impact on Verizon’s financial results, the company said last week. But consumers are starting to become wary of the Verizon brand, according to market research firm YouGov Index. Verizon’s score in consumer surveys conducted by YouGov dropped to the lowest level since news broke in 2013 of the company sharing phone records with the National Security Agency.
YOU MIGHT have to be flush with cash and the size of a pencil to wear anything from those haute couture design houses in Paris or Milan, but here in Savannah, on-fleek fashion comes in all shapes, sizes and price points.
Possibilities for your next killer outfit abound as the local style council sets up shop and stage at the Savannah Bazaar this Saturday, April 30, one of two fashion events happening on the same day. (Read about State of the Art: Savannah Style at the Jepson on page 28.)
Featuring curated looks from some of the city’s finest vintage shops and ready-to-wear boutiques, the Bazaar’s first-ever fashion show brings together stylists, vendors, artists and designers for an afternoon of creativity and community.
The shopping begins at 3pm with the Bazaar’s selection of artisan vendors offering handmade clothing, unique jewelry and exotic accessories, in keeping with the theme. DJ Basik Lee will keep everyone bouncing with his heavy rotation of excellent tunes as the Stardust Pixxies hoop and spin for your entertainment, and food trucks and a beer tent come stocked.
Loop It Up’s Molly Lieberman will host a kids’ fashion walk, where any little person with swagger is invited to dress to the nines and strike a pose. Seating for the main event begins at 5, and the runway starts rumbling at 5:30 sharp. Admission is $1.
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Modeling a dress made from upcycled fabric strips, Erica Jarman of House of Strut helps educate fashionistas about clothing’s true cost.
This is the first community-wide fashion event featuring vintage and recycled boutiques in recent memory, spotlighting the exquisite wares of the Starland District’s Gypsy World: A Vintage Boutique and House of Strut.
“We are so excited to have an opportunity to show our extraordinary vintage collection on the runway,” says Gypsy World owner Lisa Doyle.
“We’ve created many unique looks to inspire people and show them how they can incorporate vintage into their wardrobe.”
Provided by the team at Jelinek Cork, the raised runway will also showcase out-of-this-world gowns from Junk 2 Funk standout and Starland’s resident design darling, Samantha Salas. The afternoon show presents original designs from artist/yogi Cindy Male as well as the bold and sexy Fudashi Collection by Crystal Jenkins.
Don’t worry if you blink and miss a look: The models will linger after the show as a team of fashion illustrators led by artist Sasha Mirzoyan sketch the ensembles in the open-air tents.
“I’ve been amazed at how much talent is in Savannah,” marvels show coordinator Ashley Denson, a freelance stylist who recently moved here from Dallas, TX.
“It’s really given me an opportunity to meet the fashion community and see how everyone supports each other.”
Bringing an extra dash of fabulous are style consultants Nathan Saludez, the fashion director for Art Rise, and Leslie Walsh of the Gifted Creative Group, who is helping rebrand the colorful and eclectic monthly market gathering.
“The Bazaar, by definition, is an inclusive organization that brings together a varied cross section of Savannah’s creative community each month,” says Walsh.
“This event will bring individuals from all parts of the fashion community of Savannah specifically, which will make it even more interesting.”
The Bazaar Fashion Show celebrates vintage and recycled looks as the antidote for the grave environmental and humanitarian repercussions of “fast fashion.” Those chain store $4 tees and $7 sundresses come at the cost of exploited labor overseas, and the consumption of those cheap goods leads to billions of pounds of waste each year.
Erica Jarman of House of Strut hopes to reverse the trend by turning people on to the joys of upcycled clothing. The chic shop owner has been collecting and rocking vintage style for years, but after Saludez lent her a copy of the documentary The True Cost, promoting the cause has become a passion.
“I talk to people in my store every day about the human impact of fast fashion,” says Jarman.
“I try to explain that not only does buying vintage give you a unique look that no one else has, it is a solution to a huge problem.”
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Saludez, a veteran of the brutal New York garment factory world, is a vocal and visual proponent of Savannah’s local sustainable couture scene, creating dresses from old newspapers and guiding others in the way of the low-carbon footprint closet.
“For most people, it’s important that fashion be accessible and affordable,” muses the stylist. “There’s a way to have that without contributing to the suffering of others and the planet.”
Together with SCAD alum Amanda Harris, Saludez will create dresses on site at the Bazaar from fabric strips recycled from secondhand duds. Attendees are encouraged to bring their own bags of fast-fashion cast-offs to contribute to the garments—and perhaps learn how to craft one of their own.
Even if you couldn’t care less about your look and you’re just there for fun, food and entertainment, this Bazaar may pique an interest in your next pair of jeans or socks.
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As Saludez points out, “We’re all involved in the fashion industry. We all wear clothes, don’t we?”
It was an evening as sweet as pie! Broadway's Waitress opened just last night at theBrooks Atkinson Theatre, where tickets are on sale through January 1, 2017. BroadwayWorld was there for the special night and you can check out photo coverage from the red carpet theatre arrivals below!
Based on the 2007 motion picture written by Adrienne Shelly, Waitress is the first Broadway musical in history to have four women in the four top creative team spots, with book by Jessie Nelson, score by five-time Grammy Award-nominated singer-songwriter Sara Bareilles, choreography by Lorin Latarro and direction by Tony Award-winner Diane Paulus.
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WAITRESS tells the story of Jenna, a Waitress and expert pie maker in a small town, who dreams of a way out of her loveless marriage. A baking CONTEST in a nearby county and the town's new doctor may offer her a chance at a new life while her fellow Waitresses offer their own recipes to happiness. But Jenna must find the courage and strength within herself to rebuild her life. This new American musical celebrates friendship, motherhood, and the magic of a well-made pie.
Photo Credit: Walter McBride
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After the release of Beyoncé’s sixth studio album Lemonade, we can say we have all now learned this: hell hath no fury like Beyoncé, but hell also hath no fury like Becky with the good hair—especially if you’re fashion designer Rachel Roy, and especially if you made a quasi-confession on social media about once having an affair with rapper Jay Z.
In an Instagram Roy posted to her account the night of Bey’s Lemonadepremiere, Roy seemingly made an allusion to being one of Jay Z’s inamoratas by invoking her “good hair.” The description appears to be a reference to the Lemonade track “Sorry,” a song about a husband’s affair and an ensuing confrontation and rebuttal, which has a line about “Becky with the good hair.”
The album itself is thought to be a chronicle of Beyoncé and Jay Z’s marriage and subsequent marital strife, which more or less red-flagged Roy’s post and gave the Internet denizens an immediate cause for suspicion.
“Good hair don’t care, but we will take good lighting, for selfies, or self truths, always. live in the light #nodramaqueens,” read the caption of the ‘gram. The post has since been deleted.
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To give Roy’s confession a bit more context, here are the lyrics Queen Bey opens with in a spoken word monologue in another song, titled “Apathy”:
“So what are you gonna say at my funeral now that you’ve killed me? Here lies the body of the love of my life whose heart I broke without a gun to my head. Here lies the mother of my children both living and dead. Rest in peace my true love, who I took for granted. Most bomb pussy, who because of me sleep evaded. Her shroud is loneliness, her god was listening. Her heaven will be a love without betrayal. Ashes to ashes, dust to side chicks.”
No one wins in this situation, really.
According to other news sources, Roy was apparently the driving force behind the now infamous confrontation between Jay Z and Solange Knowles, which took place in an elevator after the 2014 Met Ball.
“Solange was defending Beyoncé in the elevator because Solange finds Jay’s friendship with Rachel to be WAY too close for comfort and it makes Solange very uncomfortable,” an unnamed source said in an exclusive with Hollywood Life. “Beyoncé also confronted Rachel and said, ‘Don’t talk to my sister like that,’ after [Rachel] confronted Solange.”
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<CENTER><IMG border=1 alt="Is Fashion Designer Rachel Roy 'Becky With the Good Hair' from Beyoncé's Lemonade?" src="http://i.kinja-img.com/gawker-media/image/upload/s...h4bykgn7tbwchm4ad1s5.jpg" width=701 height=383></CENTER>
<P>After the release of Beyoncé’s sixth studio album Lemonade, we can say we have all now learned this: hell hath no fury like Beyoncé, but hell also hath no fury like Becky with the good hair—especially if you’re fashion designer Rachel Roy, and especially if you made a quasi-confession on social media about once having an affair with rapper Jay Z.</P>
<P>In an Instagram Roy posted to her account the night of Bey’s Lemonadepremiere, Roy seemingly made an allusion to being one of Jay Z’s inamoratas by invoking her “good hair.” The description appears to be a reference to the Lemonade track “Sorry,” a song about a husband’s affair and an ensuing confrontation and rebuttal, which has a line about “Becky with the good hair.”</P>
<P>The album itself is thought to be a chronicle of Beyoncé and Jay Z’s marriage and subsequent marital strife, which more or less red-flagged Roy’s post and gave the Internet denizens an immediate cause for suspicion.</P>
<P>“Good hair don’t care, but we will take good lighting, for selfies, or self truths, always. live in the light #nodramaqueens,” read the caption of the ‘gram. The post has since been deleted.</P>
<CENTER><IMG border=1 alt="Is Fashion Designer Rachel Roy 'Becky With the Good Hair' from Beyoncé's Lemonade?" src="http://i.kinja-img.com/gawker-media/image/upload/s...dkao5pp3lx1bzu6wzwhy.jpg" width=800 height=513></CENTER>
<P>image:<A href="http://www.kissyprom.co.uk/vintage-prom-dresses-online">vintage prom dresses uk</A></P>
<P>To give Roy’s confession a bit more context, here are the lyrics Queen Bey opens with in a spoken word monologue in another song, titled “Apathy”:</P>
<P>“So what are you gonna say at my funeral now that you’ve killed me? Here lies the body of the love of my life whose heart I broke without a gun to my head. Here lies the mother of my children both living and dead. Rest in peace my true love, who I took for granted. Most bomb pussy, who because of me sleep evaded. Her shroud is loneliness, her god was listening. Her heaven will be a love without betrayal. Ashes to ashes, dust to side chicks.”</P>
<P>No one wins in this situation, really.</P>
<P>According to other news sources, Roy was apparently the driving force behind the now infamous confrontation between Jay Z and Solange Knowles, which took place in an elevator after the 2014 Met Ball.</P>
<P>“Solange was defending Beyoncé in the elevator because Solange finds Jay’s friendship with Rachel to be WAY too close for comfort and it makes Solange very uncomfortable,” an unnamed source said in an exclusive with Hollywood Life. “Beyoncé also confronted Rachel and said, ‘Don’t talk to my sister like that,’ after [Rachel] confronted Solange.”</P>
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The Golden State Warriors have been without their best player, the league's best player, a historic-level best player for the past 1 1/2 games in an NBA playoff series, and yet they're 2-0. Any other team losing it best player -- outside of maybe the San Antonio Spurs losingKawhi Leonard due to the fact that the Grizzlies have lost their two best players -- would be in some form of crisis.
Instead, with Steph Curry sidelined by some sort of ambiguous ankle injury (seriously, they're calling it a "tweaked ankle" which isn't even a medical term, but whatever it is it willlikely keep him out of Game 3), the Warriors have still dominated the Houston Rocketsthrough two games. Setting aside how pathetic the Rockets are -- and they are pathetic -- the Warriors wouldn't be able to compete without Curry if they didn't have the specific personnel they do to step in and deliver.
What's interesting is that the idea of the Warriors is that they're all perimeter. They launch 3-pointers in ISO, transition, or early pick-and-roll situations. But much of the Warriors' success outside of what Curry does is actually based around a very old-school concept: they post you into oblivion.
THE POST-UP ADVANTAGE
According to Synergy Sports, the Warriors have scored more points out of sets featuring a post-up than they have out of isolation or pick and rolls. Notice we didn't say points out of post-ups. We said points out of sets featuring a post-up, meaning this includes passes out of the post. The Warriors, in other words, don't necessarily throw the ball into the post to score in a traditional, back-to-the basket way. Andrew Bogut and Draymond Green aren't pulling any Dream Shakes.
The Warriors throw the ball into the post simply to initiate offense.
More specifically, they use the post early in the shot clock as their guards navigate a maze of screens with precise off-ball cuts. Golden State's bigs, particularly Bogut and Green, are terrific passers. But it's not just the Warriors' bigs that are, you know, big. They enjoy height advantages all over the court, especially when Curry is out and bigger perimeter lineups featuring Andre Iguodala and Shaun Livingston are on the court together for more extended minutes.
Livingston, in particular, can devastate smaller defenders from the post.
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Livingston, a 6-foot-7 point guard, is one of the few Warriors who does actually look to score out of the post, and this season he did it at a better than a 50-percent shooting clip. League average is 44 percent. So far vs. the Rockets, Livingston literally hasn't missed from the post. He's 100 percent. It's a small sample size, of course. But you get the point. He's a matchup nightmare down there.
Being that the Rockets can't afford to put Trevor Ariza on him and risk an even bigger size mismatch elsewhere, he often winds up being guarded by either 6-foot-1 Patrick Beverley, or James Harden, who would be terrible defensively if he were eight feet tall.
He treats both of them the way your older brother used to torture you in the driveway.
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The Gears of War 4 multiplayer beta officially began yesterday on Xbox One, but its rollout hasn't gone exactly to plan. People who played Gears of War Ultimate Edition on Xbox One or PC before April 11 were supposed to receive their codes in chronological order based on when they played. But...
"Microsoft Operations had an issue [on April 18] with their code drop and unfortunately the codes will not be distributed in chronological order as originally messaged," Gears of War 4 developer The Coalition said in a forum post. "We will be doing another code drop [evening of April 18] to help address some of the issues. As noted before, codes will be going out in waves as we ramp up our servers through the beta."
Beginning today, April 19, The Coalition will deliver a "higher volume" of codes in an effort to make up for the issue, as well as some server problems that popped up on the first day of the beta.
Even more Gears of War 4 beta codes will go out on Wednesday and Thursday, by which time everyone who played Gears of War Ultimate Edition before April 11 should receive their token.
"We apologize for the confusion during this process and we are looking forward to seeing everyone in-game during the beta," The Coalition said.
If you didn't play Gears of War Ultimate Edition, you'll still be able to play Gears of War 4's beta. After the early access period ends on April 24, an open beta will begin on April 25 and run through May 1.
Alternatively, if you're attending PAX East in Boston this week, you can play the game's multiplayer mode at the show. For lots more on the Gears of War 4 beta, check out this detailed FAQ.
While you wait to get in to the beta, you can check out this video that covers eight tips to help you succeed. Players who reach level 20 in the beta will berewarded with special content when Gears of War 4 launches in October.
For more on Gears of War 4, check out the stories below.
Gears of War 4 Multiplayer Plays It Safe (For Now)
Gears of War 4 Devs on Making Multiplayer Matter, Not Taking Story Too Seriously
Gears of War 4 to Include Microtransactions
Gears of War Multiplayer Has Been "Under-Served," Producer Says
See Gears of War 4's Beta Maps in New Video
Get Ready for Gears of War 4 Beta With These Eight Tips
The street thugs and economically illiterate crazies of the Occupy Wall Street movement have returned to New York to help their radical hero Bernie Sanders win the Empire State’s critical Democratic Party presidential primary contest this week.
"Bernie's campaign -- like the [Bill] de Blasio campaign [for New York mayor in 2013], like the [Elizabeth] Warren campaign [for U.S. Senate in Massachusetts in 2012] -- are lineal descendants of Occupy," said Bob Master, who is political director for the Communications Workers of America and co-chairman of the ACORN-affiliated Working Families Party.
"These campaigns, and Sanders most dramatically, are Occupy Wall Street translated into electoral politics,” Master told CNN. “This is the revolt of the 99 percent."
Master believes Verizon workers, who were involved in an intense contract battle when Occupy arose in 2011, are benefiting from the media hype and radicalism that are part and parcel of the new Occupy protests. Sanders joined striking Verizon employees on a Brooklyn picket line last week.
"Occupy Wall Street helped create the political climate that helped Bernie's message to resonate so widely, simply by shining a spotlight on issues of Wall Street greed and income inequality," said Sanders campaign mouthpiece Karthik Ganapathy.
"We've been able to tap into the energy of [Occupy] and channel that into something tangible and concrete and forward-looking," he said. "They're here [working on the campaign]. I see them, I see a lot of them volunteering, making phone calls, knocking on doors. It's a natural fit."
Occupy's list of complaints about America has always mirrored Sanders’ own.
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"I applaud them," Sanders said in 2011 when the movement was born. "They are speaking to the real anger and frustration that millions of Americans feel at a time when the middle class is collapsing, poverty is increasing, the people on top are doing phenomenally well."
Last week Occupy people created a publication called The Battle of New York specifically to stick the shiv in-between Hillary Clinton’s ribs during primary season.
Occupy never really went away after the stakes of the rape tents in Lower Manhattan’s Zuccotti Park were pulled up. Since those glory days of defecating on police cruisers, firebombing, and other destruction of property, Occupy activists have been involved in plenty of unpatriotic mischief.
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The Aston Martin Vantage will be replaced by an all-new model next year, but that doesn’t mean the current car will slowly fade away into the history books. Aston has introduced a limited-edition Vantage variant called GT8 that’s brimming with performance-oriented features borrowed from its Le Mans program.
The GT8 is to the V8-powered Vantage what the sold-out GT12 was to the V12-equipped model. It uses an evolution of the regular Vantage’s naturally aspirated, 4.7-liter V8 engine massaged to pump out 446 horsepower, about 25 more than stock. Rear-wheel drive is the only configuration available, but buyers can choose between a six-speed manual transmission and a seven-speed automatic unit controlled by shift paddles.
Far from subtle, the GT8 receives a full body kit that includes a sizable splitter up front, fenders with cutaway wheel arches, deep side skirts, and a large air diffuser integrated into the rear bumper. All of the add-ons are crafted out of carbon fiber in order to shed as much weight as possible. The GT8 weighs about 220 pounds less than the regular V8 Vantage, and it stands out as the lightest — and most powerful — V8 Vantage Aston Martin has ever built. If that’s not enough, speed aficionados can pay extra to get a carbon fiber roof panel, a titanium exhaust line, and polycarbonate rear windows.
Aston Martin designed the GT8 with racing in mind, but it understands that some buyers will inevitably want to use it on a daily basis. Consequently, every GT8 comes standard with air conditioning, a 160-watt sound system, and the latest generation of the company’s AMi III infotainment system. The Vantage’s power-adjustable sport seats have been sent back to the parts bin and replaced by a set of manually adjustable buckets made out of carbon fiber.
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Miuccia Prada Speaks on Feminism, Politics, Being a Fashion Genius
One of the most fascinating details in a new WWD interview with the ever-fascinating feminist designer Miuccia Prada is that she has a Carsten Höller slide in her office that directs from behind her desk to an outside courtyard. Others have opined about this—a similar slide traveled to the New Museum in 2011—but I wish the topic had been explored further; whether the 66-year-old icon uses it as a regular exit; or whether, during particularly stressful meetings, she just chunks a deuce and bes out. When does she use this slide!
Alas, there were more pressing topics, and as writer Luisa Zargani noted, she only had an hour to discuss them. Prada’s designs are always some of the most dynamic each season and the reason, I suspect, is because she’s the smartest designer working. Her storied past as a feminist and communist who went to freakin’ mime school and only joined the family business because she felt obligated, only to blossom into a brilliant artist has been well documented (this 2004 New Yorker piece remains the best profile of her to date), but it’s always exciting to read a seasonal temp-check with her, particularly after she’s unleashed two of her best collections in years.
Out of the gate, Prada contextualizes her latest collections in the parameters of feminism, and the way she feels women are becoming more hemmed in by political expectations:
I must say that more than any other time, I felt the need to express general problematic issues — because sometimes you can and sometimes you can’t. But this time, the sense of questioning was strong. It’s all so dynamic now. Everything is changing in politics, we don’t know where and we don’t know how, in society, in the new means of communication, so the idea was very important for me to ask myself who we are, where we come from and where we are going. Hence this excursus. And then the position of women, I really care about this. After all, unfortunately women still don’t count that much in the eyes of the world. There are two trends — those that have given up and just want to be married and be kept, but luckily there is also a new apparent feminism in the new generation.
Of course she answers the obligatory questions about how the nature of the fashion business is changing, whether she (and her husband Patrizio Bertelli, who runs the company with her) would follow other designers’ suit and switch to the “runway-to-the-rack” model to avoid copycats, but she doesn’t seem to be all that interested in answering these types of questions—primarily, it seems, because while she’s a very savvy businessperson she is more compelled by artistic concerns (she mentions, at one point, that she wouldn’t want to collaborate with an artist on a collection because she wants to be viewed as an artist herself, on her own terms). And yet:
I’m interested in the economic part because I’m interested in knowing what people think. I challenge myself because I want to verify if I’m in sync with people. My problem is to be sure I am in sync, even when ideologically I’m against fashion.
But if you are ahead of the curve, how can you realize if you are in sync with people?
That is my problem and my husband says we can’t be too ahead. I always am, then people copy us. For example, with the Hawaiian shirts, we did them three years ago, and everyone started doing them, so I decided to put them back on the runway [laughing].
When I let my intellectual or political side loose, I censor my work and it’s a harm to myself. Then there are periods in which I’m more generous with myself and others. I express myself in a way that is more understandable and people like it. When I do something that is fundamental, pop, it always works, maybe because there is some irony.
She also expresses her opinion on designers who are tryhards, and mostly doesn’t pull punches, particularly on the topic of those who craft entire collections based on crap facsimiles of work she’s already presented:
Those designers that have spent their life copying a little bit here and a little bit there and pass as creatives, well, that bothers me. Whether they copy me or others, it’s the same.
She’s most dynamic, though, when discussing the nuances of politics and art, the way each influences the other in her ever brilliant work. As she puts it, “You can’t expect fashion to revolutionize things; revolution happens in society.”
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It’s fair to say Stevie Boi blew the roof off fashion week recently, upping his designer profile with a new line of high-end street style done right. For Fall/Winter ’16 the Baltimore-based eyewear designer described his collection as “Boy Scouts meets Girl Scouts, but for sexy adults.” Nondescript khaki shorts, step aside.
Inspired by the poly-nylon nightmare of his boyhood — his Scouts uniform — Boi designed a daring collection that defies uniformity. Pretty in pastel, models hit the runway at Studio 450 sporting the designer’s signature shades and playing up neutral tones with stilettos and soft socks, overcoats and loose frocks, and boots paired with fitted fur. “I want to challenge what people think is art or fashion,” he said after the show.
Later, I asked the 26-year-old designer about his take on fashion, runway dreams, and what inspires his bold style.
You talk about the nerve it takes to be bold in today’s world as being at the heart of your brand. How do you think your runway fashion reflects your approach to style?
My runway fashion is a great reflection of me and my beliefs — I cast models of all ethnicities, shapes, heights, and sizes to be a part of my brand, to showcase diversity and the idea of being fearless.
What does being fearless in fashion mean to you?
Being fearless means taking risks, and not fearing what others feel or think about you.
How did you get your start in fashion?
I started in 2007 by being a social butterfly via Myspace and other social media sites. Eventually I became very popular, and was getting demands from people about what I was wearing in my photos. I decided to work on designing to go with my image. It then became a job and, now, a career.
What inspires you creatively?
My environment. I like to decompress and achieve a sort of blank mind first, but also let my emotions get the best of me. When I create, I like to go into it with a sense of freedom and total control.
Your latest collection, CÄBIN, made its runway debut last month as part of New York Fashion Week. How did you find your muse in developing the new line?
When I was younger, I was a Boy Scout — which I kind of hated, due to the uncomfortable clothing. Just weeks ago, I decided to take something I hated and turn it into a positive. I want to challenge what people think is art or fashion. Just imagine this: Boy Scouts meets Girl Scouts, but for sexy adults.
Beyoncé, P Diddy, and Madonna have all been spotted in your shades. What role do stars play in fashion today?
Celebrities have always embodied and fully brought fashion to life. Without celebrities, we wouldn’t have faces and bodies to dress for red carpets. They are the biggest thing that keeps the market going.
One of your signatures on the runway is using barefoot models. This year, you debuted your first-ever shoe collection. Did adding shoes to the line up the ante on the runway?
I love having barefoot models. It’s an element that is refreshing, dirty, silly, earthy, and confusing, all at the same time. But this year, I wanted to express myself with a shoe collection. It’s also another reason I didn’t have models wear shoes before, because I only wanted them to wear my own. I designed my shoes with Koio Collective, which is based out of Italy, where the shoes were made.
Seven models off of Slay Model Management, a transgender-exclusive agency, walked in your FW16 show, including Laith Ashley and Isis King. How important is promoting diversity to you?
It is extremely important. In today’s culture with politics and news, we’ve become too scared to be ourselves. I want to support every person that is ready to show who they truly are. This was not the first time transgender models have walked for me, but it is the first time it was acknowledged.
What do you enjoy doing off the clock?
Partying with my best friend Michael Antonio, who is also the photographer that shoots everything I do. He and I have a great time just sitting at the bar and creating concepts. There’s nothing better than having a friend or companion that understands your creative values and ideals.
What do you like best about living in Baltimore?
I love Baltimore because it reminds me of London, and vice versa. I grew up in Europe for most of my life, but Baltimore has my heart. I’m not originally from Maryland, but a part of my heart feels like I am.
Which international cities have you lived in, and which was your favorite?
I’ve lived in London, Paris, Milan, Amsterdam, and many cities in Germany. My favorite place is Ramestien, Germany, because it’s the only place I lived with Americans. Everywhere else I had to speak German, which was too much for me at that age.
Where is your ultimate vacation destination?
I think Dubai and also Cairo are two cities I would like to continue to visit for the rest of my life. I just headlined my last collection in Dubai this past December. The people are amazing, and the history will continue to give me inspiration.
When it comes to romance, what do you find most attractive in a man?
Kindness. I am really big on people who are kind. I don’t need a billionaire, but no shade! I would take a millionaire.
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Eddie Redmayne's pregnant wife Hannah looks stunning in a floral dress as they attend watch launch
He may not have won the Best Actor gong at the Oscars, but Eddie Redmayne certainly is winning at life.
The handsome star was joined by his beautiful pregnant wife Hannah as they attended a party to celebrate the release of a new watch - the OMEGA Globemaster - in Los Angeles on Tuesday evening.
Stealing the spotlight was PR executive Hannah, who looked radiant in her pretty summer attire for the red carpet event, as she revealed her growing baby bump.
The beautiful expectant mother rocked a gorgeous green, white and black floral dress with an asymmetric handkerchief-style hemline, the flowing skirt skimming over her pregnancy figure with ease.
She added a pair of stylish crossover-strap pointed black court shoe heels and kept the rest of her eveningwear simple without a trace of another accessory.
Her light brown locks were worn effortlessly in loose waves over her shoulders, and her make-up was delightfully fresh and low-key, her natural good looks doing the hard work.
Eddie, 34, looked sharp and incredibly dapper in his dark blue suit and red spotty tie, standing proudly on the red carpet with his stunning spouse.
He smiled happily for the cameras as they enjoyed another night out just two days after the couple attended Sunday night's Academy Awards ceremony.
Eddie missed out on the Best Actor award on the night: after winning the prestigious prize last year for his turn as Stephen Hawking in The Theory Of Everything, he failed to secure a second win for his role in The Danish Girl, the prize instead going to Leonardo DiCaprio for The Revenant.
It's clear he's not feeling too despondent about missing out on the accolade, judging by comments he made just two days before the biggest movie awards ceremony of them all.
Speaking at The Film is GREAT Reception on Friday night, the actor confessed: 'In my mind it is pretty much certainly Leo's year and he really deserves it. I am going along to enjoy the night.
Eddie, who was accompanied once again by Hannah, added: 'To be nominated again is just the greatest honour and especially in that company of actors.
'I am not getting carried away. I still pinch myself about last year, let alone what is happening again.'
Meanwhile, Eddie is soon to become a father for the first time and he is looking forward to the life-changing event with his wife of almost two years.
Speaking at the Oscars on Sunday to Extra, he spoke openly about their new addition, and admitted that Hannah is in charge in their marriage.
'It's gonna be a surprise,' he remarked, revealing that they will not be finding out the baby's gender before the birth.
'I'm going to be honest. I was like, 'Maybe we should find out' (and) my wife's like, 'We're not finding out'. She wears the trousers.'
'[It's] one of the great surprises that still exists in the world.
He added: 'We just got our first book or two, and they are just staring at us guiltily that we should be learning how to be parents but we haven’t opened them yet.'
The 5 Best, Most Interesting Beauty Looks From the Oscars
The Oscars red-carpet beauty roundup is short this year, and for good reason: Save the five looks below, the red carpet was pretty predictable. Standouts included a great high pony, a dinosaur-like hairdo, a romantic twist on a typical braid, and a grown-up look for an ingenue.
Rooney Mara’s Rey-like buns stood out as a stylish and beautiful respite from all that red-carpet beach hair. She looked a bit like a clipped, chic triceratops from the side, but the edginess of her three mini buns, created by Adir Abergel, worked well with her Givenchy dress and her strong side eye.
If Brie Larson’s sapphire gown said "ho-hum," her hair sang a much livelier tune. Hairstylist Mara Roszak for L'Oréal Paris curled Larson’s hair in soft waves before twisting and pinning the front section back. She weaved a piece of diamond-like fabric through the twists for a dreamy finish that screamed, “Look at me!” even if her dress said otherwise.
The ultimate companion to a gladiator-inspired Oscars dress? A high ponytail, of course. Longtime hairstylist Takisha Sturdivant-Drew teased Kerry Washington’s roots and added a clip-in extension or two, for maximum length. Washington’s breathtaking presence, however, is au naturel.
Saoirse Ronan paired pretty, loose waves with a smoky eye that practically burned through the screen. A glittery Calvin Klein dress matched her emerald shadow, which was made complete with a rim of black eyeliner. Not quite sure this is a Brooklyn look, but we’ll take it, nonetheless.
Naturally Tresemmé spokeswoman Chrissy Teigen employed the hair-care brand for this Rapunzel braid on steroids. Celebrity hairstylist Christian Wood first spritzed her roots with TRESemmé Beauty-Full Volume Hair Maximizer for a bit of lift. He then went to work on the braids. Don’t worry if this look seems impossible to pull off with your feeble hair. Wood used extensions too.
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Fearne Cotton cuts a stylish figure in chic corduroy navy mini dress teamed with pussy bow blouse at beauty launch
She recently returned to the UK after enjoying a family holiday to Rio de Janeiro.
But not wasting any time getting back to work, Fearne Cotton was a stylish as ever on Wednesday as she stepped out in London.
Launching SensatioNail's latest product, the 34-year-old looked the part in a chic navy mini dress.
Posing for photographers at the event held at Vanilla Room, Fearne proved to be every inch the fashionista she is known to be.
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Parading her slender pins, Cotton slipped into a button detail corduroy dress which she teamed with a white pussy bow blouse.
With her blonde hair styled in a side parting, the mother-of-two stood tall in a pair of black strapped heels while sporting a tangerine manicure.
Adding yet another role to her CV, the launch saw Cotton unveiled as the official spokesperson for the new SensatioNail Polish To Gel Transformer.
Meanwhile last month Fearne, alongside her BFF Gok Wan, became the face of ITVBe's style show Off The Rails.
The programme sees the duo give insights into how to prep for the red carpet in all aspects including clothes, hair and make-up.
As well as her new television show, Fearne is also gearing up for the release of her first cookbook.
Titled Cook Happy, Cook Healthy, Cotton's guide will comprise of recipes for everything from breakfast and speedy suppers to baked treats.
Excited for the upcoming venture, the ex Radio 1 host gushed: 'I'm more than excited to tell you what I've been working on. My first cook book will be out next June.'
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Метки: dress women news
In honor of New York Fashion Week, the Student Merchandising Association is putting on their annual fashion show, but this year there is a twist.
On Feb. 24 The Graduate hotel will be filled with models from the University of Georgia student model organization The Agency. The clothes worn are coming straight from Athens’ local boutiques, and proceeds from the ticket sales will be donated to Peace of Thread, which teaches refugee women to make handbags.
While last year was an over-the-top, bohemian theme, this year is going in the opposite direction with a “Minimalistic Framework” theme.
“It’s professional, simplistic, with clean, neutral colors,” said Kendall Janis, the business relations executive for SMA and sophomore marketing major from Alpharetta.
Janis said that a lot of the looks are business professional, but there is a jumper that has more of a casual, sleek look.
“Because of our theme, I think the show will have more of a New York Fashion Week feel,” Janis said. “It’s going to feel like a real show.”
Kelsie Schultz, the styling committee director and senior merchandising major from Canton said that it took about 50 committee members to put this show together, 30 of which are part of the styling team.
“The theme is a Classic French style, but more modern, with dainty details,” Schultz said. “It’s very clean.”
The styling committee goes to local stores and boutiques in Athens to sift through clothes to match the theme. They are able to pull outfits from the stores and borrow them for the show.
“We try to keep it local,” Schultz said. “That's what makes it so special, to have an Athens edge. The styling event is my favorite part of the show.”
On the night before the show, the styling team will put together a lineup of pictures of the models and outfits that they will wear on the runway.
“I would expect people to be pleasantly surprised,” Schultz said. “This will be Athens with a grown-up edge, cleaning it up, putting it together and giving it an elevated look.”
This mentality inspired the “Framework” theme. Tying such a world-renowned, global event to a local level can be difficult.
“If you sit back and think about it, you’ll say to yourself, ‘Where can I wear that?’” Schultz said.
Schultz said that it’s nice to shock culture. She said that New York Fashion Week shows are heading in a more sophisticated direction, and they want to see how it reflects the community.
“We take something that’s really big and unattainable, and bring it down locally, highlighting those aspects from New York Fashion Week to the University of Georgia’s Fashion Week, taking things that work from fashion and bringing them here, making them wearable,” Schultz said.
Madison Crowley, SMA’s president and senior consumer economics major from Gwinnett Co., said she wants people to feel classy and elegant.
“I wanted this show to be a little more sophisticated. A lot of the big shows that we see in New York are very tailored with a French look,” Crowley said. “The Boho theme has been done. We want to be original.”
Метки: show student
L.A.-Based Brand Dôen Captures the West Coast Dream
It may be winter in New York, but Margaret and Katherine Kleveland seem unfazed — even in the aftermath of a blizzard. The sisters are in town to talk about their new clothing brand Dôen, a line of women’s separates that convey the ease of California life.
"We wanted to design things that we want to wear, pieces that go with our lives," they explain in tandem, while flipping through their look book. There are gauzy, embroidered dresses (the kind that can serve as vacation cover ups just as easily as they can be worn with boots, belt and a floppy fedora); cozy, whipstitched sweaters, with just enough weight to combat the chill of a sunset on the beach; worldly-looking tops and jumpsuits with earthy Indian block prints; and artisanal leather gladiators and seagrass straw totes. And it’s all captured in a natural light that can only be found on the West Coast.
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The Santa Barbara-raised, Los Angeles-based sisters are not the first to export California with their creations: Designers like the Elder Statesman’s Greg Chait, accessories purveyor Kendall Conrad and jewelry doyenne Irene Neuwirth have all successfully translated the state’s perfect weather, natural beauty and subsequently carefree attitude into luxury brands that specialize in the artisanal.
But while Dôen may be similar in its pro-Golden State message, it’s how it is producing and retailing the collection that sets the brand apart. The Klevelands have partnered with both local, in-state manufacturers as well as international partners in Peru and India to create its hand-woven, hand-knit and hand-embroidered items, and every overseas factory that the brand works with is female owned or co-owned.
The sisters are also paying attention to consumers, and by only selling on their website, they have cut intermediary markups. Case in point: The brand’s embroidered voile Antibes top, inspired by Edwardian clothing and made in India, is priced at a palatable $135.
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Monday - start diet. Tuesday - break diet! Wednesday - plan to start again next Monday.
If this is you, it's probably time to get off the diet roller coaster and make some bigger changes to the way you eat, drink and think about food.
Here are six tips to help you get started.
1. Improve your diet quality score
When trying to lose weight, it might be tempting to quit carbs, dairy or another food group altogether.
But to stay healthy, you need to meet your requirements for important nutrients like iron, zinc, calcium, vitamins B and C, folate and fibre. These nutrients are essential for metabolism, growth, repair and fighting disease.
Our review of diet quality indexes used to rate the healthiness of eating habits found that eating nutritious foods was associated with lower weight gain over time.
Improving your diet quality means eating more fruit and vegetables, lean meats, poultry, fish, eggs, tofu, nuts and seeds, legumes, dried beans, wholegrains and dairy (mostly reduced fat).
Rate your diet quality and get brief feedback using our online Healthy Eating Quiz.
2. Mum was right - eat your veggies
Fruit and veg are high in fibre, vitamins and phytonutrients, but low in total kilojoules. So eating more can help you manage your weight.
A study of more than 130,000 adults found that those who increased their intake of fruit and vegetables over four years lost weight. For each extra daily serve of vegetables, there was a weight loss of 110 grams over the four years. It was 240 grams for fruit. Small, but it all adds up.
Drilling down to specific fruit and veg gets interesting. Increasing cauliflower intake was associated with a four-year weight reduction of about 620 grams, with smaller reductions for capsicum (350g), green leafy vegetables (230g) and carrots (180g). The reduction was 620g for blueberries and 500g for apple or pears.
It was not good news all round, though. Corn was associated with a weight gain of 920g, peas 510g and mashed, baked or boiled potatoes 330g.
3. Limit your portion size
If you are served larger portions of food and drinks, you eat more and consume more kilojoules. That sounds obvious, yet everybody gets caught out when offered big portions - even when you're determined to stop when you're full.
Research shows offering larger portions leads adults and children to consume an extra 600 to 950 kilojoules (150-230 calories). This is enough to account for a weight gain of more than seven kilograms a year, if the kilojoules aren't compensated for by doing more exercise or eating less later.
4. Watch what you drink
A can of softdrink contains about 600 kilojoules (150 calories). It takes 30-45 minutes to walk those kilojoules off, depending on your size and speed.
Children and adolescents who usually drink a lot sugary drinks are 55% more likely to be overweight.
Switch to lower sugar versions, water or diet drinks. A meta-analysis of intervention studies (ranging from ten weeks to eight months) found that adults who switched had a weight reduction of about 800 grams.
5. Cue food
Our world constantly cues us to eat and drink. Think food ads, vending machines and chocolate bars when trying to pay for petrol or groceries. Food cues trigger cravings, prompt eating, predict weight gain and are hard to resist. They can make you feel hungry even if you are not.
Try to minimise the time you spend in highly cued food environments. Avoid food courts, take a list when you go to the supermarket and take your own snacks to places where highly palatable food is advertised, like the movies.
This will reduce autopilot eating, which sabotages your willpower.
6. Resist temptation
A treatment for food cue reactivity is called exposure therapy. With the help of a psychologist or health professional, you expose yourself to the sight and smell of favourite foods in locations that commonly trigger overeating, like eating chocolate when watching TV. But, rather than eat the chocolate, you only have a taste without eating it.
Over time, and with persistence, cravings for chocolate reduce, even when cues such as TV ads or people eating chocolate in front of you are present.
You can also draw on your brain's own self-management skills to resist temptation, but it takes conscious practice. Try this food cue acronym, RROAR (remind, resist, organised alternative, remember and/or reward), to train your brain to resist temptation on autopilot.
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