Beyoncé As A 90´s R&B Icon Is #HalloweenGoals

Toni Braxton? Phoni Braxton more like. The former singer, who rose to fame in The Braxtons in the late ’80s, was catapulted back into the media spotlight for Halloween via another music icon: Beyoncé.

Bey recreated the cover art for Braxton’s debut solo album, complete with costume – skin-tight, high-rise jeans, a white vest, chain belt and leather jacket – and jet-black pixie crop. The only difference between the 1993-released album and the All Hallows' Eve tribute? The tag “Phoni” instead of the “Toni” scrawled across the portrait.

Of course, the Beyhive (the legions of loyal fans who follow the popstar’s every move) knew that Beyoncé would pull out all the stops for the holiday. Over the years, she has paid tribute to Janet Jackson, Salt-N-Pepa, and Lil’ Kim via her costumes and has done an innumerable amount of stellar couples' ensembles with her husband, Jay-Z. Remember the Barbie and Ken dolls? A Vogue team favourite.

Beyoncé captioned the first of the three pictorial nods to Braxton with a personal message from singer to singer. "Sending love and adoration to one of our talented legends," she said. "Thank you for the countless bops. Your tone, your beauty, your range, and your God-given talent is treasured. Loving you always. Have a happy Halloween my kings and queens." When modern-day popstars make headlines for the feuds they are supposedly having - Cardi B and Nicki Minaj, we're looking at you – it's refreshing to see one superstar celebrate another. Even if a Hallmark holiday had to be in the diary in order for it to happen.

Inside Priyanka Chopra’s Bridal Shower

Priyanka Chopra celebrated her engagement and impending nuptials to Nick Jonas with a bridal shower at the Blue Box Cafe, on the fourth floor of Tiffany & Co’s flagship on Fifth Avenue. This was the same famed jeweller that Jonas – in a scene straight out of Sweet Home Alabama – reportedly shut down in London so that he could select his bride-to-be’s 4-carat cushion cut sparkler in total privacy.

The 36-year-old star of the ABC series Quantico wore an ivory silk Marchesa gown with a bustier bodice and feathered skirt to the all-girls fete hosted by bridesmaids Anjula Acharia and Mubina Rattonsey. Chopra and stylist Mimi Cuttrell chose to accent the dress with a Jimmy Choo clutch, nude Christian Louboutin heels, and jewellery by Tiffany and Co, of course.

For beauty, the actress worked with makeup artist Yumi Mori to take her blushing bride look up a notch with shimmering ultraviolet eyeliner. The ultimate result? A very modern approach to bridal shower dressing.

About 100 people – including Chopra’s future sister-in-law Danielle Jonas, Kelly Ripa, and Lupita Nyong’o – were in attendance, and Nick’s mother, Denise Miller-Jonas, gave a lovely speech about her daughter-in-law to-be before the DJ got the party started. Kevin Jonas and Kevin Sr arrived at the tail-end of the soirée to congratulate Chopra before guests parted with goodie bags that included monogrammed passport cases, mini cakes shaped like the iconic Tiffany box, and champagne – talk about a sweet way to end a Sunday.

Phoebe Philo To Speak At Arts Festival 2019

Engadin Art Talks, an annual arts and architecture symposium, must have seen a surge in ticket sales following the announcement of a star speaker on its 2019 programme: Phoebe Philo, the former Céline creative director who has famously shied away from publicity throughout her fashion career.

The festival, which will take place in the Alpine ski resort of Zuoz in the region of Engadin on January 26 and 27, is billed as a “holistic visitors’ experience”. Experts from the fields of art, design, film, architecture, science and literature will come together to discuss this year’s theme: “How do gravity and grace define current-day life in the digital age?”

Philo will join longtime collaborator Juergen Teller, who shot most of the Céline campaigns during her decade at the helm, choreographer Cecilia Bengolea, musician Anthony Moore, architect Arno Brandlhuber and artist Lena Henke for the panel discussions led by EAT founding members Daniel Baumann, Bice Curiger, Hans-Ulrich Obrist and Philip Ursprung.

Since Philo presented her final Céline autumn/winter 2018 collection in March 2018, it is understood that she has been focusing on her private life. Her successor, Hedi Slimane, who is hailing a new accent-less future at the brand, however, has garnered numerous column inches for his work so far. “We don’t enter a fashion house to imitate our predecessor, much less to take over the essence of their work, their codes and elements of language,” Slimane has commented when asked about filling Philo’s shoes. Philo, in turn, has remained quiet.

Will Switzerland’s creative forum see her break her silence on Céline's new dawn as Celine? For a woman who is as discreet as the luxuriously minimal fashion that has become her calling card, it's hard to imagine, but watch Philo-philes flock to EAT in hope.

Palace X Polo Ralph Lauren Reveals Full Lookbook

Earlier in October, three billboards displaying Polo Ralph Lauren’s signature pony-riding jockey above Palace Skateboards’ italic logo popped up in Tokyo’s Shibuya district. A streetwear fan meltdown promptly ensued, as social media went into overdrive trying to decipher what the guerrilla-style advertising meant in terms of a potential collaboration.

Typically, both brands remained quiet. Then, four days later, Palace and Ralph Lauren posted the hybrid motif on their respective Instagram accounts, with the promise that a collection was “coming soon”. The hashtag #PalaceRalphLauren started gathering legions of supporters creating inventive logo amalgamations.

Two weeks later, the masters of hype tactics revealed a first look at the tie-up via a Palace-directed video. The film stars four of the brand's skate team: Chewy Cannon, Juan Saavedra, Lucien Clarke and Rory Milanes, riding horses and racing cars in the desert. The Palace-graffitied motors – a '90s Golf Mk2 and a BMW 3 series E30, for those looking closely – appear in the all-over print of the menswear pieces, which the brand has now confirmed will drop on November 9th.

"It’s the story of a dream come true,” Palace commented on the campaign. “For Palace, there is no brand held in higher esteem than the one and only Ralph Lauren. Palace have been true fans of Polo for forever, but for many years, the prospect of collaborating with the iconic American fashion house remained in the realm of fantasy. Palace Ralph Lauren is a timeless collection that represents a love letter from a young London skateboard company to their favourite brand in the universe."

The capsule, which will sit in line with Palace’s usual price points, is not part of a brand expansion plan, but is born out of the company's mission to keep Palace dynamic and fun. “Collaborations – it’s what people do now, it’s like seasons,” the brand's co-owner Gareth Skewis told Business of Fashion upon the initial social media announcement. “For me and [founder Lev Tanju], this is a massive moment for us and a real pinnacle.

The collection follows the drop of Palace’s autumn/winter 2018 line in collaboration with Oakley, as well as its tie-up with Adidas for Wimbledon – which was worn by Serena Williams – over the summer. Where Supreme was always the streetwear brand that snapped up brands to pump out cult drops with, Palace is now putting itself firmly in the arena. Ralph Lauren, meanwhile, is following all-American heavyweights such as Tommy Hilfiger, which long ago recognised the profile boost that teaming up with younger, social media-respected brands and influencers can afford.

Kim Jones Taps Prince Nikolai Of Denmark For First Dior Men's Campaign

Prince Nikolai of Denmark stars alongside models Valentin Caron, Romaine Dixon, Malick Bodian, Lukas G and a clown-like figure crafted from flowers in Kim Jones’s first Dior men’s campaign. The latter is the work of US artist Kaws – real name Brian Donnelly – who created a 33-foot-tall botanical structure in homage to brand founder Christian Dior for Jones’s debut show.

The sculptural centrepieces are part of a larger collaboration between designer and artist. In the Steven Meisel-lensed campaign, a capsule collection of luxe sportswear embroidered with Kaws’s cartoon bees is featured alongside runway looks from the spring/summer 2019 show. Prince Nikolai leans against the blooming interpretation of Mr Dior wearing his first exit look – pale blue-and-white suiting – in just one shot of a series that simultaneously fuses Jones's humour with the maison's history.

“I wanted the advertising to reflect the spirit of the men’s summer show and the beauty of Dior,” Jones told WWD of the campaign and Kaws tie-up, which will drop in stores in December. “I’ve always wanted to work with Kaws, I think he’s super chic and also his work speaks to a lot of people.”

The campaign, which was art directed by Ronnie Cooke Newhouse, with styling by Melanie Ward, make-up by Pat McGrath and hair by Guido Palau, precedes Jones’s pre-fall show in Tokyo. Just like his collaboration with Donnelly, this shift to Japan is a savvy commercial move on Jones’s part. His spring/summer 2019 pieces will fill the shelves of a pop-up in Shinjuku's Isetan department store, where limited-edition drops mean big business. Where Jones goes, a coterie of brands will undoubtedly follow.

Diane Von Furstenberg To Design Claridge's 2018 Christmas Tree

The Claridge’s Christmas tree has long been a landmark of London’s festive season, owing to the creative visionaries that work on the centrepiece. For 2018, the ninth year the storied Mayfair hotel has enlisted a collaborator to conceptualise its fir, Claridge’s has asked Diane Von Furstenberg to do the honours.

Von Furstenberg will unveil her concept, entitled “The Tree of Love”, on the morning of November 27. If the design is anything like the fabulous Studio 54-inspired fashion that has become synonymous with her namesake brand, the tree is set to be a showstopper that will delight hotel guests and tourists alike.

“Christmas has always been a truly special time of year at Claridge’s and we are delighted to welcome Diane to spread her creative magic this year,” Paul Jackson, Claridges' general manager, commented on the news. “Having designed a series of rooms and suites in her signature style in 2010, we really can’t wait to see her vision for our tree.”

Von Furstenberg, who describes Claridge’s as her home in London, is in good company. Previous tree designers have included Karl Lagerfeld, Jony Ive and Marc Newson, Christopher Bailey, and Domenico Dolce and Stefano Gabbana. Last year, the former chose to invert the 16-foot-high tree so that the star sat atop silver gilded roots as opposed to the uppermost point. But, while Largerfeld’s tree was a souvenir of his childhood, Von Furstenberg’s will celebrate “all aspects of life and love”. All will be revealed when the curtain comes down on November 27th.

Paloma Wool Is Popping Up In London - And Everyone's Invited

The first item Paloma Lanna released under the umbrella of her fashion-brand-cum-art-project, Paloma Wool, was a sweatshirt. Numbered by hand, and part of a limited edition of 50, the sweater featured a photograph Paloma had taken on her travels in New Zealand, of a bush with pink flowers, using her old Yashica.

She shot the sweater on a pretty friend and published the image on Instagram. People began sharing it. Then they started buying it. In one day, her nascent website was flooded with visits from 69 different countries. “It taught me that content is so important,” the 28-year-old designer reflects, speaking over the phone from her Barcelona studio. “At the end, they were only sweatshirts, but the photos were so different to what other brands were doing that people connected to them.”

Four years on, Paloma Wool, a direct-to-consumer, Instagram-fuelled sensation has only continued to connect with its customers in increasingly innovative ways. On October 29, the brand will open an eight week-long pop-up at Liberty, with a sculptural shop-fit designed by two young designers from DelloStudio (fittingly, they first connected on Instagram, and are yet to meet in person).

Several days later, it plans to stage a photo shoot with its London-based clients and followers. “We’re not looking for models – just people who like the project,” says Paloma. “Maybe you would like to come! We already got 150 emails on the first day of posting the idea, and I don’t know how many people will turn up, but we’re looking to represent everyone who wants to be a part of it.”

Note the word “project”. Paloma Wool may have gained followers on behalf of “the Leandra”, a cream-coloured, one-size-fits-all, €79 shirt featuring a lithe form reminiscent of a Matisse cut-out or an Arp moustache; it may do a fine line in Seventies-hued, needle-cord jumpsuits; it may sell cute alpaca jumpers by the shedload – but don’t call it a fashion brand.

“When I started Paloma Wool my ambition was to create a platform for different artists to meet and create pieces together,” says Paloma. She has followed up on her ambition to be “more than a clothing label” by collaborating with ceramicists, artists and photographers, selling their products on her website and utilizing their skills in service of her distinctive, soft-focus imagery. “I am more concerned with being artistic than commercial,” she says.

The two, however, are not mutually exclusive: increasingly, it’s that inventive flair for stand-out imagery that ensures her smile-inducing clothes and accessories sell. Paloma agrees her photography is as important as her products. “It’s very important with us being an online store. The visuals are what people buy into.” She still photographs most of the campaigns herself, occasionally utilising the exacting eye of her best friend Carlota Guerrero, the brains behind Solange’s extraordinary A Seat At The Table album artwork. “I think a lot about what photographs I’m going to take. I always try to express friendship and kindness with my photographs – both are such important messages for our brand.”

Born in San Sebastian, but raised in Barcelona, Paloma has fashion in her blood. Her parents founded Eighties-era label Globe and then Nice Things, a Spanish clothing brand, with whom she shares some suppliers and for whom she still leads the marketing department. She struck out on her own in 2014, having finished her college degree. The factories in particular came in handy: 80 per cent of the collection is produced in Spain, with the remaining T-shirts and sweatshirts produced in Portugal.

She is excited to come to London: “I always get stopped by people who recognize the clothes – no one would ever do that in Spain,” she laughs. What’s the secret to her appeal? “Colourful, special pieces with a good price point. But, really, it’s about friendship,” she says. “We’re just a group of eight girlfriends doing fun stuff together.”

Coal Drops Yard: Why You Need To Visit London's Progressive New Shopping District

Does London really need a new shopping district? Yes, Argent, the developer of the major new Kings Cross retail development, Coal Drops Yard, believes it does. Take one look at the glossy pictures of the space, in which Heatherwick Studio has fused contemporary design elements with vestiges of the past, and you’ll be inclined to agree.

First things first: why Kings Cross? Argent had no desire to piggyback on the success of Granary Square after Central Saint Martins set up camp there in 2011. Rather, its plans were laid out back in 2000. “We have always envisaged Kings Cross as a microcosm of the city,” Anna Strongman, partner at Argent, tells Vogue exclusively of the project. “The Victorian buildings of the coal drops seemed the perfect place to create something special.”

Within the surviving brick viaducts and rich ironwork of the site, which was originally established in 1850 to handle the eight million tonnes of coal delivered to London each year, sit an eclectic mix of 50 concept stores, bars, restaurants and public spaces available for workshops and talks. “There aren’t many places where you find a Margaret Howell store directly next door to a brand that’s opening its first ever shop,” Strongman continues. “Our research showed that people want that feeling of serendipity, and love places which retain a sense of discovery.”

Central to Argent’s mission was signing brands that wanted to be part of a community of shopkeepers. Paul Smith, Cos, Aesop, Tom Dixon and Cubitts were all chosen for their progressive outlook on driving the site forward as a tech, culture and creative hub, and the fact that customer interaction was not purely transactional for them.

“There’s also a real focus on sustainable consumption, and a more careful approach to what consumers are willing to spend their money on, a shift towards quality and craftsmanship over volume and bargains,” Strongman adds of Thomas Heatherwick's massive heritage refurbishment and restoration effort to make the site green. Each eatery, including Rita’s Bodega and Barrafina, is linked to a heating and cooling system that powers the entire N1C postcode to prevent the site over-using energy.

“We don’t think there is anything like Coal Drops Yard in London already,” Strongman shares. “Everything we have done at Kings Cross shows that if you invest in high quality architecture and public spaces – and work in partnership with brands – then people will come.” Argent’s research into the forward-looking shopping districts in Paris, Milan, Scandinavia and the east and west coasts of the US, allowed the company to formulate a mission statement – “to have an independent spirit, to offer something special in return for a customer’s time, and to delight visitors and passers-by” – but Coal Drops Yard had an edge from the very beginning: a strong heritage to pique customer interest on its own.

Dakota Johnson Is The First To Wear Celine By Hedi Slimane On The Red Carpet

Hedi Slimane’s debut collection for Celine might have polarised the fashion community, but that isn't stopping actress Dakota Johnsonfrom planting a flag on the red carpet in support of the newly appointed designer. After Lady Gaga teased Slimane’s new handbags on Instagram, Johnson became the first celebrity to wear Slimane’s Celine on the red carpet yesterday night, choosing a red sequined minidress from his first collection for the Los Angeles premiere of Suspiria. This isn't the first time Johnson has gravitated towards Slimane's designs. She was a fan back when he was at the helm of Saint Laurent. For the London premiere of Fifty Shades of Grey in 2015, Johnson took the plunge in one of Saint Laurent’s popular slip dresses — she wore a red version to the Oscars just two weeks later.

The bell sleeve dress is in keeping with Slimane’s design signatures: short, shimmering, with a plunging V-neck and a vixenish ruffle for an extra oomph of '80s glamour. What makes Johnson’s dress stand out — at least within Slimane’s work — is its colour. Amid Slimane’s parade of mostly black minis and suits, there were just six colourful dresses, and only one in red. It's also fitting that the star chose the bold hue as it also happens to be a leitmotif in the Luca Guadagnino-directed film. The actress kept her accessories simple, choosing romantic Sophie Buhai drop earrings and Giuseppe Zanotti sandals.

Why Liz Goldwyn's Vintage Hollywood Archive Sale Is A Must-See

Liz Goldwyn has been collecting vintage fashion since she was 13, because, quite simply, she loves the thrill of the hunt. The author and filmmaker sourced her first designer bargain – a cream satin skirt from Courrèges for under $20 – in the garment district close to her Boston school. But it wasn’t until she took a job in Sotheby’s New York fashion department at 17 that she realised the value of the pieces she had accidentally acquired.

If learning about the provenance of fashion, how to catalogue it and then care for it seems unusual for a teenager, Goldwyn’s background is a good indicator of how her passion for getting lost in the past started. Her father, film producer Samuel Goldwyn Junior, a self-confessed clothes horse always besuited by Savile Row, was handed down style notes from his father, Samuel Goldwyn, a heavyweight film producer during Hollywood’s heyday.

“Coco Chanel was briefly under contract to my grandfather in the ’30s,” Goldwyn shares with Vogue. “He even built her a replica of her own Paris atelier in his studio, but many of the looks Chanel made for his stars were never used. Hollywood actresses, such as Gloria Swanson, were horrified by Chanel’s androgynous chic, because they wanted gowns that would emphasise their curves.”

Goldwyn’s own personal treasures include a knitted hat that belonged to Bob Marley; a G-string that Zorita, one of the subjects of her book, Pretty Things: The Last Generation of American Burlesque Queens, made for her; and a pink Versace lace-up corset dress worn to the premiere of her first film, Pretty Things. The latter will be sold in the third instalment of Vestiaire Collective’s Archive Series from October 25. “The dress defined a moment of complete sexual empowerment for me,” she says. “I’m sad to see it go! But pleased that it will live another life with a new owner and benefit a good cause.” Indeed, 10 per cent of the profits from the 300 rare pieces in Goldwyn’s edit will go to Dress for Success, which provides professional attire for low-income women to support their job search.

Much like her link to Coco Chanel, Goldwyn's most-cherished pieces in the sale conjure up the Hollywood-tinged tales of her life so far. “One of my favourite memories is dancing at my 22nd birthday dinner with my friend, the iconic ’60s model Peggy Moffitt, wearing a black brocade Mr Blackwell gown with acid green flowers on it,” she recalls. A ’30s fringed black velvet showgirl costume that Goldwyn purchased when researching Pretty Things, meanwhile, evokes a time when her career was gathering pace. “We have priced it well so that someone can actually wear it out now if they want to,” she explains.

How did the resale e-tailer convince Goldwyn to part with other gems, including rare Balenciaga, Maison Martin Margiela and Yves Saint Laurent collectors' items? “I had been thinking about doing a sale and pulling things aside for a few years, so if a piece was on my ‘to go’ rack, I couldn’t look back,” she explains. “Even now, there are things that I wish I wasn’t selling, such as an Angelo Tarlazzi cocktail dress with a pillow heart on the bottom, but I remind myself of the joy I had in finding them and owning them, and how they might empower others.”

Wardrobe space is also needed for the items she’s still lusting over. A Geoffrey Beene sequined football jersey minidress, a Charles James corseted ball gown and a Rudi Gernreich piece from his collection based on Kees Van Dongen are all on her list. “It’s one of my biggest vintage regrets that I sold a pink jersey safety pin dress by Zandra Rhodes back in the day," she laments. "I thought I would find it again, but 20 years later I’ve had no such luck!”

As fabulous as her archive is, behind the glamour is an obsessive researcher who applies the same rigour to fashion as she does to her work. She was first able to buy vintage because of the money she earned from collecting recycling, and the two have always been entwined for her. “Yes, I love beautiful shiny shoes, dresses and lingerie as much as the next person, but I think we, as a global community, have to consider how much excess there is currently being pumped out,” she says, adding that the only items she buys new are lingerie, stockings and shoes. Goldwyn's favourite thing to do may be to sink her teeth into a specific period or designer that piques her curiosity, but she's using her time in the present to help spread the word about the precautions we need to make for our future, too.

Givenchy Returns To Standalone Menswear Shows

Co-ed shows might have become du jour owing to the growing movement towards genderless fashion, but, for Givenchy, womenswear and menswear are about to be reinforced as separate categories again.

After staging three consecutive combined shows following the arrival of artistic director Clare Waight Keller, the brand has announced that it will return to the menswear calendar for the autumn/winter 2019 season.

“Granting menswear a dedicated platform starting from January reflects the house’s support of Clare Waight Keller’s vision for the brand,” Givenchy told WWD. Ready-to-wear and haute couture collections will continue to show women and men side-by-side on the catwalk and the campaigns will celebrate both genders, but the January 16 presentation is a chance for the designer to explore the possibilities of menswear within the new house codes she is creating.

The move could also be influenced by Givenchy’s parent company LVMH, which is keen for brands in its stable to tap into the burgeoning menswear market. Three new creative chiefs have been placed at the helms of menswear at Louis Vuitton, Dior and Berluti in the last year. And Celine, under the charge of Hedi Slimane, will introduce menswear to its offering for the first time.

On the flip side, the number of brands showing men’s and women’s collections together is on the ascent. Celine and Maison Margiela staged their first co-ed shows this season, and brands including Stella McCartney, Balenciaga, Haider Ackermann and Sonia Rykiel featured models of both sexes on the catwalk. The balance, as ever in the current climate, is always shifting, as brands try to adjust to consumer desire, the demands of a conglomerate and the values of society, while retaining absolute originality.

A First Look At The Full Moschino x H&M Collection

When I got the call about working with H&M and being their designer collaboration for this year, I was excited as I love the idea of bringing my [designs] to the masses,” Jeremy Scott explained to Vogue in the run-up to the launch. “It is something I did with my adidas collaboration and I loved the reach of that, and I am so thrilled to be able to do the same now with my Moschino designs.”

Last night, after months of anticipation, Scott unveiled the Moschino [tv] H&M collection with a star-studded extravaganza at Pier 36 in New York. The show space was transformed into NYC streets, replete with high-rise buildings, billboards covered with the campaign images and illuminated theatre signs emblazoned with the Moschino logo. As Run-DMC's “It’s Like That” blasted out, campaign star Gigi Hadid opened the show in a black hoodie printed with gold chains and a glittering gold puffer coat, followed by Stella Maxwell, Duckie Thot, Imaan Hamman, Dilone, Teddy Quinlivan, Jordan Barrett, Candice Swanepoel, Joan Smalls and Winnie Harlow.

As Yolanda Hadid looked on proudly from the front row (joined by Marc Jacobs, Paris Jackson and Amanda Lepore) Bella and Anwar Hadid also hit the catwalk, clad in fitted leather. There was also rainbow-hued furs, stonewash denim and plenty of gold, gold, gold. Topping off the stellar line-up, Naomi Campbell closed the show in a sequinned silver dress with black knee-high quilted boots to rapturous applause.

H&M confirmed its latest designer collaboration with Italian fashion brand Moschino, back in April 2018. The news was first revealed on the evening of April 14, at Jeremy Scott’s 11th annual party at Coachella music festival. The announcement came via an Instagram live call from Gigi Hadid to the designer, with both dressed in looks from the collaboration, giving a tiny taste of the playfulness and colour - synonymous with Scott's designs - that we could expect to see from it.

After Scott's long-standing collaboration with adidas ended in 2017, this partnership offers fans a chance to snap up his designs again at a more accessible price point, with prices ranging from around £25 to £300. “I started with the thought of how to make it the most Jeremy Scott for Moschino collection ever,” the designer asserted.

“I thought about the mood of 'street', the mix and attitude of haute couture and humour, and the elements of bling bling accessories piled up on top of each other to capture and create the look I do on the catwalk. I thought of it like ingredients for a feast, and I wanted to include all the ingredients to make sure it had all the essence of a Moschino collection. You get cartoon characters, you get gold, bold Moschino jewellery, you get sequins and shiny things, and a mix and juxtaposition of elements you don't normally find together. Expect the unexpected!”

For the eagerly-awaited collection (show attendees descended on the pop-up shop like a crazed mob immediately after the finale), silhouettes are slashed, shapes are distorted and chains and logos are emblazoned across everything from T-shirts and jackets to boots. A collaboration with MTV plays with pop culture with a fresh logo mash-up in true Moschino style, subverting the iconic MTV logo on hoodies and sweatshirts.

Constantly fusing high and low, Jeremy Scott believes in the “haute hoodie” and has created a dazzling parka dress that’s entirely covered in silver sequins. Vying for the position of the most blinging, standout piece in the collection is a gold leather biker jacket punctured with gold chains, not to mention a bustier twinkling with countless rhinestones. Metallics, logos and chains aside, familiar Disney characters also crop up in the collection. Patched onto a hoodie dress, Mickey hangs out with Donald Duck, Goofy and Pluto. Minnie Mouse is knitted into a fuchsia intarsia sweater dress, while a merino wool mesh knit dress has oversize patches of Donald and Daisy Duck.

“Whenever I design, I always want there to be so many different options and choices, for all the different people who identify with the Moschino world,” Scott explained, giving the reasoning behind the broad, all-encompassing collection (and we haven’t even got to the pet wear yet). “Personally, I love the gold sequinned puffer and can’t wait to wear that. I feel certain that you will see that I’ll be living in the MTV Moschino logo mashup sweat suit for the entire next year!”

The collection also includes pet wear, from a padded dog jacket printed with chains and leopard print and a grey hoodie featuring the famous double question mark Moschino logo, to dog collars decorated with charms and gold lettering. This is the first time both H&M and Moschino have released clothing for pets. “Everyone’s little doggies need something to keep them warm this winter! I didn’t want to leave them out,” Scott told us. “Can you imagine their faces if they saw their owner had some Moschino [tv] H&M and they were left with nothing? It was so much fun to make these pieces for them.”

Four years on from Scott’s debut Moschino catwalk collection, the designer reflects on that pivotal moment in his career and what the brand means to him today: “That show was so emotional and powerful for me as a person and as a designer. It was the first time I ever showed work under another designer’s name - it was a new experience to put myself into a space where people could judge me not just by my work, but by how my work fits with their concept of a brand that has been beloved for many years. Looking back today I still love the collection, and think it was very forward as I did a lot of things that are now being done by other designers. So, when I think about that collection I think - right on!”

Earlier this month, H&M teased images from the campaign, shot by Steven Meisel (the first time the legendary photographer has worked with the Swedish retailer), which take inspiration from a '50s salon show. Styled by Carlyne Cerf de Dudzeele, with hair by Guido Palau and make-up by Pat McGrath, the campaign features models Gigi Hadid (of course), Imaan Hammam, Vittoria Ceretti, Rianne Von Rompaey, Stella Maxwell and Soo Joo Park, lounging around a resplendent room, decked with gold chairs and a chandelier.

“Gigi is my baby girl. I love and adore her. First of all, she’s such an amazing model and she looks gorge in the Moschino [tv] H&M campaign! Gigi and I go back a long way. At my own label’s AW14 show I was the first designer to put her on the catwalk, and she was so fierce that she both opened and closed the show. I love the Hadid family so much. Their mother has raised them all so well, and has instilled in them this kind of thoughtfulness and presence. I could not imagine doing Moschino [tv] H&M without Gigi!"

“We love to connect our designer collaborations to the mood of the times,” H&M's creative advisor, Ann-Sofie Johansson added of the partnership. “Right now, fashion is so bold, so energised and so much about making a statement with what you wear. Jeremy Scott at Moschino is the perfect designer for this year’s collaboration, because he is all about having the best time with fashion. His work has such positivity, optimism and his amazing sense of humour, all of which makes Moschino [tv] H&M so special.”

As one of the most well-connected people in the fashion industry and an incredibly effervescent personality, what’s Scott actually like to work with? “Jeremy is such a gentleman, and is one of those amazing people who is exactly as they seem. He’s so much fun, is polite and kind and talks with everyone,” she continued. "There is this great energy around him when he’s designing, and he’s such a hard worker. He is very clear about what’s right for Moschino and pushes hard to make everything the best it can be. It’s such a great combination. Working with Jeremy on Moschino [tv] H&M has always been productive and also fun for everyone too.”

See the Moschino[tv]H&M look book starring Jeremy Scott and his friends, family and muses including Dilone, Aquaria, Barbie Ferreira, Ami and Aya and Teddy Quinlivan.

Grace Coddington On Becoming A Bona Fide TV Host

When Grace Coddington was first pitched the idea of Face to Grace, a talk show-inspired series with the Vogue contributing editor as host, she categorically said no. “The whole idea of interviewing someone was too scary for me,” she tells Vogue ahead of the latest episode – a tête-à-tête with Nicolas Ghesquière – airing.

Eventually she relented to the requests of IMG’s streaming channel M2M, and decided upon a niche for the first six episodes. “I wanted to have a connection with all of the people so that I would feel comfortable,” she continues.

The all-star line-up of acquaintances – conversations with Ansel Elgort, Sofia Coppola and now Ghesquière have already gone live on the platform, and interviews with Michael Chow and Anna Wintour are up next – were chosen for their broad spectrum of backgrounds. “I like that it’s very personal and that I don’t ask questions that anyone might ask,” Coddington expands. “I see them when they are not in their working hats, so it’s very relaxed.”

Though there’s no question list or prompt card as such – “I like that [the dialogue] wanders and it’s not too strict” – the formula itself is always the same. The team captures the moment at Mr Chow's at 11am when the restaurant is quiet and Coddington can get in the zone. “I tell everyone, ‘please don’t bother me with annoying questions about anything that’s going on tomorrow, or the next day, or the week after’, because I like to stay very focused on the person that I am about to talk to,” she shares.

The reception has been encouraging. “Most people think it’s charming and I like charming,” she muses, before admitting that series two is already on her mind. “I hope it happens because there’s a lot more people I would like to talk to and a lot of people I have lined up, so it will be embarrassing if it doesn’t happen!”

For now, though, there’s her juicy exchange with Ghesquière to satiate the people who keep making suggestions for her next interviewees. The pair discuss their 20-year friendship, how they originally bonded over a “crazy shoot” with Annie Leibovitz where "good guy" Ghesquière solved a “high-fashion crisis”, and how it is really very fortunate that Coddington likes her friend’s designs. “I’m so happy I like your clothes, because I like you and if I didn’t like your clothes it would be really awful,” she laughs. As Coddington, herself, says, it’s absolutely charming.

Off-White Is Now The Most Popular Brand In The World, Beating Gucci And Balenciaga

Over the past year, Virgil Abloh’s cult streetwear label Off-Whitehas gone from strength-to-strength, thanks, in part, to highly-publicised collaborations with Nike and Ikea, and Abloh’s appointment as artistic director of household name-brand Louis Vuitton. Now there are stats to prove the company’s mighty ascent.

The latest edition of the Lyst Index, the quarterly report ranking fashion’s hottest brands and products, shows that Off-White has risen 33 places, surpassing Gucci and Balenciaga at the top of the leaderboard for the first time. To put this into context, three out of 20 products in the hottest product list were by Off-White. Searches for the brand across Lyst’s partner retailers, meanwhile, are up 14 per cent quarter-on-quarter.

Gucci, Balenciaga, Nike and Prada round up the top five brands, with Nike climbing five places up the index to reach fourth position. The sportswear giant’s collaboration with Off-White, which was worn by Serena Williams during the US Open, no doubt boosted its profile, along with the Just Do It campaign starring Colin Kaepernick. Four out of the 20 hottest products this quarter were by Nike.

Similar viral social moments, such as the Kaepernick for Nike adverts, are also the reasoning behind Yeezy’s jump to seventh place after being absent from the list for a quarter. Remember the furore around Kanye West’s too-small Yeezy pool slides? In terms of brand notoriety, that’s the equivalent of great marketing.

Other findings from the research, which is generated by monitoring the shopping behaviour of more than five million people, are perhaps more predictable. The Dior Saddle bag was the most searched-for product of the quarter, with a 957 per cent spike seen after 100 global influencers posted an Instagram image of them modelling the nostalgic accessory on July 19th.

And it was finally the turn of cult contemporary brands Staud and Ganni to enter the hottest product list owing to the growing Instagram following that both have backing them. Accessibly priced items, including Staud’s Shirley bag and Ganni’s Dainty Georgette wrap skirt, sit next to Gucci’s Flashtrek sneakers, Off-White’s logo belts and Saint Laurent’s LouLou sunglasses in the top 10, as the tide has shifted away from luxury names to those that garner currency of their own on Instagram.

Rihanna Proves Why She's The Original Bad Gal In The Savage X Fenty AW18 Campaign

If Rihanna’s Savage x Fenty autumn/winter 2018 show was all about spotlighting the season’s most-buzzed-about models, street-cast newcomers and the longstanding members of her bad gal crew – Slick Woods, Duckie Thot et al – the corresponding campaign turns the focus on the lingerie’s creator: RiRi herself.

In a video directed by Philippa Price and styled by Savannah Baker, Rihanna, clad in a pale lingerie set and matching veil, is pictured surrounded by models in a lush green rainforest scene. There’s no narrative as such – the video simply shows women sitting on rocks, gazing at waterfalls and seemingly only moving in time with goddess Rihanna. It’s as ethereal and serene as it sounds, with the eye drawn completely to the underwear sets that have been much lauded owing to the inclusive sizing and styles.

“I approach everything with the same mentality," Rihanna told press of her brand in May. "It has to be authentic, it has to be from me, my perspective.” The campaign video is the designer and role model’s latest pledge that she will always be at the centre of her brand message, but she’ll surround herself with strong females that inspire her, too. Because that is what Rihanna’s Fenty empire is all about.

The Fashion Awards 2018 Nominees Are In

The nominees for the Fashion Awards 2018 in partnership with Swarovski have been revealed ahead of the December 10 ceremony at London’s Royal Albert Hall. "Each and every one of them is being recognised for their creative excellence and innovation," BFC chair, Stephanie Phair, told press at the briefing. Among the household names on the list, a handful of editors' favourites have received their first nominations. Marine Serre, Richard Quinn and Sofia Prantera for Aries have all been recognised, while newcomer Adut Akech joins previous nominees Adwoa Aboah, Bella Hadid, Kaia Gerber and Winnie Harlow in the much-lauded Model of the Year category.

"Representing fashion’s most inspiring emerging and established talents, this list is the perfect showcase for the energy and diversity of the industry today," Nadja Swarovski, member of the Swarovski executive board, added of the list. "We are excited to unveil the winners at the awards show in London in December, which will raise truly vital funds for the BFC’s initiatives.”

Accessories Designer of the Year

Alessandro Michele for Gucci
Demna Gvasalia for Balenciaga
Jonathan Anderson for Loewe
Maria Grazia Chiuri for Dior
Miuccia Prada for Prada

Brand of the Year

Balenciaga

Burberry
Gucci
Off-White
Prada

British Designer of the Year Menswear

Craig Green for Craig Green
Jonathan Anderson for JW Anderson
Kim Jones for Dior Homme
Martine Rose for Martine Rose
Riccardo Tisci for Burberry

British Designer of the Year Womenswear

Clare Waight Keller for Givenchy
Jonathan Anderson for JW Anderson
Roksanda Ilinčić for Roksanda
Simone Rocha for Simone Rocha
Victoria Beckham for Victoria Beckham

British Emerging Talent Menswear

Ben Cottrell and Matthew Dainty for Cottweiler
Eden Loweth & Tom Barratt for Art School
Kiko Kostadinov for Kiko Kostadinov
Phoebe English for Phoebe English
Samuel Ross for A-Cold-Wall*

British Emerging Talent Womenswear

Matty Bovan for Matty Bovan

Natalia Alaverdian for A.W.A.K.E.
Rejina Pyo for Rejina Pyo
Richard Quinn for Richard Quinn
Sofia Prantera and Fergus Purcell for Aries

Business Leader

Jonathan Akeroyd for Versace

José Neves for Farfetch
Marco Bizzarri for Gucci
Marco Gobbetti for Burberry
Michael Burke for Louis Vuitton

Designer of the Year

Alessandro Michele for Gucci
Clare Waight Keller for Givenchy
Kim Jones for Dior Homme
Pierpaolo Piccioli for Valentino
Virgil Abloh for Louis Vuitton

Model of the Year

Adut Akech
Adwoa Aboah
Bella Hadid
Kaia Gerber
Winnie Harlow

Urban Luxe

Alyx

Palace
Marine Serre
Off-White
Supreme

Coach Is The Latest Brand To Go Fur-Free

Coach is phasing fur out of its collections so that by the time the Tapestry-owned brand presents its autumn/winter 2019 collection in February 2019, it will be completely fur-free.

Though the business move is unlikely to impact company profits – fur currently accounts for less than one per cent of its womenswear business – the ban will not include shearling, mohair or angora, which many of its competitors have chosen to also exclude.

“We understood from our employee population and from our consumers that it was important to them that we take a stand on this issue,” Coach chief executive Joshua Schulman told Business of Fashion. “We’re doing it because we believe it’s the right thing to do.”

2018 has seen a definitive shift in the anti-fur movement, as London Fashion Week became the first of the major fashion weeks to prohibit fur on the catwalks and Los Angeles’ City Council unanimously voted for a fur-free future. Yoox Net-a-Porter Group, Gucci, Michael Kors, Versace, Burberry, Farfetch and Diane von Furstenberg also pledged to stop using the controversial material, putting Coach in very good company indeed.

Why Now Was The Right Time For Amazon Fashion To Launch Its First UK Pop-Up Shop

Virgil Abloh has already popped up in London this week with a Wizard of Oz-inspired concept store selling his first spring/summer 2019 menswear collection for Louis Vuitton. Next up, it’s the turn of Amazon Fashion, which has opened its first bricks-and-mortar shop in the EU on Baker Street.

From October 23 – 27, Londoners will be able to purchase a revolving edit of women’s and menswear pieces. Autumn/winter 2018 trends will be the priority for the first two days, followed by fitness gear on the third, and street and partywear on the final days. Events including a beauty trends panel discussion hosted by Vogue beauty and lifestyle director Jessica Diner, a yoga session with Deliciously Ella founder Ella Mills, and Pepe Jeans denim customisation will also be peppered throughout the schedule, along with DJ and acoustic music sets. In short, if you stop by there will be something fabulous going on.

“We’re always looking for ways to offer our customers new experiences and we felt there was no better time than now to launch our first pop up,” Susan Saideman, Amazon Fashion vice president for Europe, tells Vogue of bringing the success stories the company has had with physical retail stores for Amazon books, devices and groceries in the US to the UK.

Products from the roster of brands, including Calvin Klein, Tommy Hilfiger, Levi’s and Puma, can be purchased in store or virtually using Amazon’s SmileCode scanning technology. Saideman promises that it’s far easier than it sounds: “Customers simply open the Amazon shopping app on their mobile device, select the ‘camera’ option to search for a product, and then scan the Smilecode. This will then take them directly to the product page on Amazon."

Naturally, any glossy new pop-up calls for a party. The opening night of the store saw Lara Stone, Pixie Geldof, Gemma Chan, Mary Charteris, Rafferty Law and Maddi Waterhouse browse the rails – each in head-to-toe Amazon Fashion, no less – and set the tone for the days ahead. So, could the celebratory atmosphere sway the company to take up a permanent residence in Europe? "We never say never but right now we don’t have anything to announce," says Saideman.

Virgil Abloh's First Louis Vuitton Designs Have Arrived In London

The wait for Virgil Abloh fans is over: the first items from the designer’s debut Louis Vuitton collection are available to buy. The spring/summer 2019 menswear designs are on sale in a concept pop-up store in Mayfair, London, that is based on the inspirations Abloh drew on for the collection.

And so, motifs from The Wizard of Oz manifest themselves in wild forests and poppy fields in the 2,000 sq ft townhouse space on Bruton Street. The ready-to-wear, which ranges from tailoring to hoodies, and soon-to-be cult accessories, are displayed in a transparent box printed with the LV monogram in a rainbow of colours reminiscent of the gradient runway of the Palais-Royal Garden show in Paris.

And what’s the land of Oz without its characterful inhabitants? Abloh invited Idris Elba, Rami Malek, Rita Ora and Frank Ocean along to cut the metaphorical ribbon on October 19. Guests wishing to also peruse the products within the July Garland-printed walls will have until October 25. Appointments can be made via Ticketing.louisvuitton.com, but it remains to be seen whether the LV trunks will travel to other lands far, far away.

The Polo Ralph Lauren X Palace Collaboration Will Drop Imminently

Last week, three billboards cropped up in Tokyo’s Shibuya district displaying Polo Ralph Lauren’s signature pony-riding jockey above Palace Skateboards’s italic logo. Cue a streetwear fan meltdown as social media went into overdrive trying to decipher what the guerrilla-style advertising meant in terms of a potential collaboration.

Typically, both brands remained quiet. Then, four days later, Palace and Ralph Lauren posted the hybrid motif on their respective Instagram accounts with the promise that a collection was “coming soon”. The hashtag #PalaceRalphLauren started quickly gathering a host of inventive logo amalgamations that are also worth scrolling through.

“Palace Ralph Lauren is a timeless collection that represents a love letter from a young London skateboard company to their favourite brand in the universe,” the post continued. Accordingly, the menswear, which will include tops, trousers, outerwear and accessories, is inspired by the Polo items that Palace founder Lev Tanju and co-owner Gareth Skewis have worn over the years. “It’s the only brand that you can wear to a board meeting, a funeral and go to the football in – and all in the same day,” Tanju told Business of Fashion.

The capsule, which will sit in line with Palace’s usual price points, is not part of a brand expansion plan, but is born out of the duo’s love and respect for Polo Ralph Lauren and a mission to keep Palace dynamic and fun. “Collaborations – it’s what people do now, it’s like seasons,” said Skewis. “For me and Lev, this is a massive moment for us and a real pinnacle.”

Indeed, the collection follows the drop of its autumn/winter 2018 line in collaboration with Oakley, and its tie-up with adidas for Wimbledon, which was worn by Serena Williams, over the summer. Where Supreme was always the streetwear brand that snapped up brands to pump out cult drops with, Palace is now putting itself firmly in the much-hyped arena. Ralph Lauren, meanwhile, is following all-American heavyweights such as Tommy Hilfiger, which long ago recognised the profile boost that teaming up with younger, social media-respected brands and influencers can afford.

Natalia Vodianova And Olivier Rousteing Join Fashion Trust Arabia Judging Panel

Creative directors and supermodels may be more au fait with Paris’s rue Saint-Honoré than Doha’s luxury Al Waab Street district, but that may be soon to change. Today, via Vogue, it is announced that Valentino’s Pierpaolo Piccioli, Balmain’s Olivier Rousteing and Natalia Vodianova have been confirmed as judges for the Fashion Trust Arabia (FTA) Prize – so too are designers Haider Ackermann and Zuhair Murad, MatchesFashion.com co-founder Ruth Chapman, and Vogue Italia’s deputy editor-in-chief Sara Sozzani Maino.

Aside from the illustrious judging panel, the FTA Prize has the royal seal of approval, operating under the patronage of honorary chair HRH Sheikha Moza bint Nasser and co-chair HE Sheikha Al- Mayassa bint Hamad Al-Thani. According to the FTA’s second co-chair and founder, British Vogue contributing editor Tania Fares, the prize is set to become the Middle East equivalent of the CFDA Fashion Fund in the USA, or the BFC Fashion Trust (Fares also established the latter) in the UK. The non-profit organisation is formed of a collective of fashion-industry individuals and personalities who, through funding and mentorship, want to help raise the standards of emerging design talent in the Middle East and North Africa (MENA) region.

So what drove the big names on the judging panel to get involved? While Ackermann, who spent part of his childhood in Algeria, and the Lebanese Murad have a personal connection to the Middle East, it was the opportunity of nurturing young designers that held universal appeal from the outset. “I’ve seen the impact that a smart and well-funded fashion fund can have on both local and global fashion,” says Rousteing, talking exclusively to Vogue. “To build a strong and competitive fashion scene, it’s key to have the necessary framework, help and funding to inspire, support and guide new talents.” The FTA prize – which includes funding and support from Matchesfashion.com – means that MENA talents will be able to access the kinds of opportunities enjoyed by designers based in or closer to the “big four” fashion capitals of New York, London, Milan and Paris. “Talent is conceptual, but it needs to be shared in order to grow and develop,” says Piccioli. “This project offers me the opportunity to help them express their artistic value. I am sure I will learn a lot from them, too.”

Following the FTA’s launch in September, applications are open until January 2019 to all MENA-based womenswear and accessory designers who have been in business for at least two years. In March, winners from four categories – eveningwear, ready-to-wear, accessories and jewellery – will receive the funding they require (an amount that they will specify themselves) to take their business to the next level, while their winning designs will be have the chance to be showcased by Matchesfashion.com.

“It’s been challenging to find new talent in the Arab market because, like any developing market, the designs tend to be region-specific,” says Chapman. “Increasingly, the customer is looking for a product with global appeal, and that’s what can make a difference to a young designer’s business. It’s getting a global customer mindset.” As much as the FTA is about education in creating that global appeal, it’s also about bringing these new designers to the international stage. Fares, who is Lebanese with Jordanian heritage, is well versed on up-and-coming designers from the region she spends so much time in – yet when she consulted established British and American fashion journalists, she discovered a real awareness gap that needed to be fixed. 

Murad confirms this: “These young talents are taking regional and traditional trends, and along with their own expertise and savoir faire, are modernising them into completely new and redefined concepts of their own,” he says, citing the $260 billion “modest” fashion industry as an example of the Arab world’s faithfulness to its “traditions and roots”. With that vast figure expected to increase by 50 per cent by 2020, the FTA could play a pivotal role in growing not just the market, but the variety and creativity behind it too.

Natacha Ramsay-Levi's First Chloé x Net-A-Porter Capsule Collection Is Everything You Want It To Be

Since her debut spring/summer 2018 collection, Natacha Ramsay-Levi has quietly gone about evolving the Chloé woman’s sweet sensibilities to give her feminine wardrobe a harder, sharper edge. Ramsay-Levi’s Chloé is all about undercutting the whimsy with cut-out glossed leather ankle boots and heavily buckled bags. It’s simultaneously bohemian, retro, French and carefree – in short, the woman everyone wants to be.

“What’s interesting about French femininity – although I don’t know if it’s that feminine – is the idea of contradiction: you take something and make it something else,” Ramsay-Levi told Vogue after her autumn/winter 2018 presentation. Her ability to harness this unattainable insouciance has earned her a keen following, particularly on e-tail giant Net-a-Porter.com, for which Ramsay-Levi has just designed a capsule collection.

There are Rylee boots and Tess bags – the accessories that have already garnered cult status under Ramsay-Levi – aplenty in the 27-piece edit to satisfy demand from the Net-a-porter.com customer. Chloé shoe sales on the e-tail platform have doubled since last year, half of which are driven by boots, and the Tess has become a bestseller globally, with the burgundy bag style a sell out.

“The response has been extremely positive,” Net-a-porter.com global buying director Elizabeth von der Goltz tells Vogue. “The new direction that Natacha Ramsay-Levi has brought to the collections has felt modern and contemporary, which has resulted in a striking urban edge. I think Chloé used to be known for its occasion and vacation dressing, but now it’s speaking to the Chloé girl for all parts of her everyday life, in particular, dresses and separates, which is something that the brand does incredibly well.”

Net-a-porter.com’s brief to Ramsay-Levi was to focus on this “urban” path. “We vision Natacha as a unique, independent Parisian woman,” von der Goltz continues. “We wanted it to fully incorporate her fresh point of view on the brand, such as the great tailoring and key menswear fabrics. It’s what we like to call ‘city’.”

Karlie Kloss Weds Josh Kushner In Custom Dior

Karlie Kloss and Josh Kushner are married. The supermodel wore a custom Dior design by Maria Grazia Chiuri to wed her fiancé in front of 80 guests at a ceremony in upstate New York. Kloss took to Instagram and Twitter to announce the news with a photo taken at the wedding and the simple caption “10.18.2018 ❤️." A larger celebration is planned for next spring, according to People.

The news comes three months after the couple announced their engagement – also via social media. “I love you more than I have words to express,” Kloss captioned the photograph of the pair. “Josh, you’re my best friend and my soulmate. I can’t wait for forever together. Yes a million times over 💍.”

Kloss met Kushner, who is the brother of Jared Kushner, advisor to Donald Trump and Ivanka Trump's husband, in 2012. “We’ve really grown together personally and professionally,” Kloss told Vogue after the proposal. "Josh knows that I’m just a nerdy, curious human being. I think that’s why he loves me. We have each other’s back.”

A First Look At Cos's New Art-First Concept Store

The phrase “concept store” might have lost the impact or intrigue that it once had, owing to a multitude of brands offering everything from 360-degree shopping experiences to meditation rooms. But Cos promises its new art-first shop in Coal Drops Yard, Kings Cross, will present customers with a fresh proposition.

The London-based high-street favourite established a network of collaborators in the art, design and architecture worlds long ago, and now it is drawing on these connections. Rather than a “trad” store, it sees itself as a platform to showcase the work of emerging artists, independent wellbeing companies and publishing houses.

“At Cos we have always been inspired by art and design. It is the starting point for everything we create, so for us it’s natural to support a community that we are so influenced by,” Karin Gustafsson, Cos creative director, told Vogue of hoping to bring the atmosphere of previous brand events at the Salone del Mobile and Serpentine Galleries to Coal Drops Yard. “We wanted to bring these creative experiences into our store so that our core inspirations could be close to the garments.”

British artist Paul Cocksedge will kick off proceedings with a site-specific installation exploring the juxtapositions between natural and man-made fabrics. Cos's exclusive Kings Cross edit of ceramics, books and beauty products, meanwhile, will find a place within the listed Victorian building accents within the Thomas Heatherwick building that the team were keen to preserve.

"The King’s Cross store felt like a perfect opportunity for us to partner with other likeminded brands that we feel a synergy with," Gustafsson continues of the unique space, which will feature natural rocks suspended from hoops of light. "We hope the store offers our customers a holistic shopping experience." With concepts such as light manipulation and the relationship the different materials have with gravity also bandied around, it will certainly be an interesting one when Cos opens its doors in November.

Casely-Hayford’s Tranquil Shop Is London’s New Tailoring Mecca

Have you ever seen so many women wearing suits? With the exception of the Square Mile, where the corporate two-piece still holds sway, I can’t remember a season, in street style terms at least, where so many fashion editors switched up their trusty jeans-and-a-blazer combo for streamlined teal, blush and navy tailoring. The same is true of the red carpet – see Lady Gaga living it large in body-swamping Marc Jacobs. We’ve dubbed it big suit energy.

So, where to go for sharp lapels, neat vents and superlative fabrics? Those women who have fallen for the easy elegance of a steam-and-go suit will be pleased to hear there’s a new tailoring mecca to which to set their style compasses: 3 Chiltern Street, and the new Casely-Hayford shop.

The brand has amassed a loyal following since it launched in 2009, helmed by father-and-son duo Joe and Charlie Casely-Hayford. If Joe provided the Savile Row expertise and industry nous (his Eighties-era eponymous brand boasted fans as diverse as The Clash and Princess Diana, before he enjoyed a spell as creative director of Gieves & Hawkes); Charlie, then a 22-year-old Central Saint Martins graduate, kicked the stuffing out of it. Its classic tailoring has always had subversive appeal – Joe, after all, was a cornerstone of Eighties countercultural cool in the menswear world – and there’s an up-all-night loucheness that offsets its sturdy seersuckers, wools and linens rendered in pragmatic cuts. These are 24-hour suits to be worn anywhere and everywhere.

The new shop is a similarly relaxed affair. When I visit on a sunny Tuesday morning, the effect is of a particularly soothing yoga session: the soft strains of Sampha tinkle through the air, bouncing off the freshly painted walls in calming hues of sage and teal. I am greeted by Maria, Joe’s wife and Charlie’s mother, who keeps the business side ticking over (full disclosure: their equally talented daughter, Alice, edits Vogue.co.uk, though had no hand in commissioning this story). Next through the door is the interior designer Sophie Ashby, who collaborated with the family on the space, with a brief to make it feel “like home”. Luckily, Ashby is also Charlie’s new wife, so there was no second-guessing. The mustard yellow fitting room downstairs, for instance, is almost identical to the colour in Joe and Maria’s living room at their home in Canonbury, and the walls throughout are hung with artworks by friends and clients.

This was Ashby’s first store project. “We did loads of research and were thinking about how so many shops are minimal and pared back, just white with rails. We wanted to create a calm, fresh envelope, and then pockets of intensity, some richness for the clothes to stand against,” she says. Her husband adds: “Often when I go to a luxury goods store, it’s an imposing environment. We wanted to create somewhere with warm lighting, inviting colours, where you don’t feel it’s a hard sell. It’s about the relationship between us and our clients.”

Cannily situated next to the Firehouse, the shop’s ground floor is a sleek showcase of Casely-Hayford ready-to-wear – all eyes on the double-breasted, poppy-hued, moirée suit by the door – set against panels coated in sumptuous offcuts of tailoring fabrics (the designers source theirs from the UK and Japan). One floor down is the intimate made-to-measure atelier for men and women (prices start at £995) the feature wall covered in a beautiful bespoke curtain patchworked from more offcuts, which sits alongside a marble-topped commode, vases, books and paintings by British artists such as Tomo Campbell.

This is where clients can luxuriate in the full Casely-Hayford bespoke, 3000-fabric-choices strong experience – its remits recently expanded. “We’re now slowly branching out into leather and suede, so we can make a suede trench coat or biker jacket entirely to your specifications, as well as shirts and trousers. So, we’re opening up made-to-measure to things outside tailoring,” says Charlie. “We’re also developing a lot of bespoke fabrics which has been incredibly popular, particularly for weddings. With my wedding suit, for instance, we made the fabric in-house. It took 3 months. It’s quite an unbelievable experience, and not really something you can get anywhere else.”

Special mention must go to the downstairs bathroom, where Ashby’s expert hand blended ashy blue walls with brass-hued taps atop a recycled plastic counter from Smile Plastics, made from recycled yoghurt pots. And the teal-hued metal staircase, which the family has spent the last few weekends threading with strips of fabric, weaving them into a Sheila Hicks-style tapestry. Indeed, the whole shop boasts gems that fans will recognise from Casely-Hayford’s old Seven Sisters studio.

Customers have already been rolling in en route for cocktails at the Firehouse. “What we specialise in is clothes that are formally tailored but also feel relaxed. That’s the ultimate combination, and the reason why people seek us out,” said Joe. Charlie, the brand’s ultimate ambassador, epitomises its modern philosophy. “I wear a suit every day, I wear it like it’s tracksuit bottoms,” he said. “I rarely wear a shirt – always a T-shirt and with trainers or boots. It doesn’t feel formal to me, and I don’t treat it like that. The majority of our clients are men and women who don’t have to wear suits every day,” he continued. “When they come to this shop, we want them to feel like they’re in our home.” The only problem with that approach is: they’ll never want to leave.

Koibird Reopens Its Doors

Remember new destination store Koibird? The colourful holiday shop in Marylebone packed to the brim with tropical kaftans and natty accessories set for a heatwave? Well, summer has been and gone, winter is now upon us – and so too chillier climes as thoughts and travel plans turn towards snow-capped mountains and chic ski resorts.

Founder Belma Gaudio, a seasoned traveler, launched the store with that very concept in mind – that its stock would switch from beach to ski – out of her own frustrations of not being able to find clothes that matched her holiday locations.

The store closed for two months while a total interior overhaul took place. With no salopettes left untried, the edit from 63 brands includes everything from technical skiwear to après pieces with a wealth of accessories in-between from heated gloves, socks, and scarves, to helmets and goggles. None of it for wallflowers, it’s all as brightly hued as her high summer edit.

“Koibird is on a mission to inject some much-needed playfulness into skiwear,” begins Gaudio, who reopens the store today. “We have also made a concerted effort to collaborate with designers on producing high quality faux fur pieces that don’t compromise on luxury. It’s an offering that speaks to any Koigirls’ quest for fun and adventure.” One that ensures you’ll stand out on the slopes, regardless of your technical abilities. N.B. Make the most of it, come spring, it’s back to summer wear.

Laura Bailey's Cashmere For Every Occasion

NYC, 1998. The sky still smelt like snow, but the morning after the fall. A lattice-crystal chill, suspended. I’d raced to a screening from a shoot. Bare shoulders. No tights. The wrong shoes. (I was always inappropriately dressed in NYC.)

A ragtag group of friends, mostly Brits abroad, huddled in a hotel bar, sipping whisky and sharing salty cashews. A tall kind stranger leant me his jumper. Not his tux. Not a scarf. An olive-grey hug of a Hermès cashmere V-neck. It took me a while to give it back. But no pneumonia. The power of luxe cashmere to seduce and romance. Protection from the storm.

A country childhood. Scratchy shrunken lambswool and graveyard grey M&S school uniform. A petal-pink cardigan with elaborate pearl beading scored on a sixth form vintage quest. My first cashmere. Bobbly, second hand. A little stained. But still.

On early fashion shoots I stroked the cashmere symmetrically stacked on set as if in a boudoir at Bergdorfs. Sometimes, when everyone else was still eating lunch, I’d try everything on, piece by piece, like an actress learning her lines or counting her jewels.

Soho in springtime – NYC brunches with Elle McPherson and her sleek entourage, all legs and French perfume and three-ply camel cashmere. My faux-nonchalant awe as they purred Basquiat and St Barths, mostly lost in translation. I was spending my rent on Miu Miu but I wore it with sweats. I was chasing the wild not the pretty. For a while.

The kittenish sensual allure of cashmere is undeniable, but I was also fascinated by heritage and the makers’ craft. The Scottish mills, the artisan design and the imagery, from Linda McCartney’s family photographs to Perry Ogden’s Irish Pony Kids, plus Marilyn Monroe on skis, of course. Knitwear as both hand-me-down connection and luxe survival wear. (I wore a favourite logo skinny knit by Bella Freud all the way to the summit of Kilimanjaro - under and over fleece and thermals.)

The real love affair started when I stopped saving it for best and started wearing it with denim and vintage print, walking boots and raincoats. More for adventure than tea, unrelated to a twin set and pearls.

Souvenir favourites, treasured and love-worn; a cashmere blanket the size of my daughter’s bedroom. The most decadent gift I’d ever been given. An old love letter. "So you’ll always be held and warm..." Still in my car boot, in case of emergency.

And Brora, now celebrating its 25th anniversary with a special collection, a brand that will always remind me of when my babies were babies, swathed in rainbow-striped blankets before graduating to mini Fair Isles and gloves on a string. Grade A cashmere, all sourced and produced ethically and sustainably from the Mongolian plateaux to a historic mill in the Scottish Borders, founded in 1797 and employing generation after generation ever since.

The best cashmere pieces are traditional and timeless, but with a twist. Like my favourite of the Brora birthday collaboration with stylist Jayne Pickering – a chunky black hooded snood that has become a favourite travelling companion. Skater-cool but with an Old-Hollywood luxe mystique. (Just add shades.) An easy pairing with a trench coat for changeable autumn days.

My daughter borrowed my Brora hoodie for a bike ride. "This is as soft as a marshmallow polar bear Mama!" Exactly. The cashmere caress. Not just for Christmas.

A First Look Inside The V&A's Christian Dior Exhibition

In February 2019, the V&A will open the largest and most comprehensive exhibition ever staged in the UK on the house of Dior. Spanning 1947 to the present day, Christian Dior: Designer of Dreamswill trace the history and impact of the couturier, and the six artistic directors who have succeeded him at his namesake brand, in what will be the museum’s biggest fashion exhibition since Alexander McQueen: Savage Beautyin 2015.

The V&A team, led by fashion and textiles curator Oriole Cullen and set designer Nathalie Crinière, will reimagine the major exhibition Christian Dior: Couturier du Rêve, organised by the Musée des Arts Décoratifs, Paris, for the south-west London gallery space. “We have about 50 per cent new content and it is all haute couture,” Cullen tells Vogue. “It’s quite phenomenal to think that every single garment in the show is handmade. Throughout the 70 years of the house, we see the high points and the amazing imagination of the designers at the helm. The garments themselves speak volumes, so this is very much a show that focuses on the fashion.”

Within the 11 sections, which include “The New Look” (a focus on Dior’s famed Bar suit) and “The Dior Line” (the designer’s 10 defining looks from his 1947 and 1957 tenure at the house), will sit a new installation exploring the designer’s fascination with Britain. “It’s a story that hasn't really been told before,” Cullen says of her extensive research into what the 21-year-old man from Normandy connected with upon his first visit to the country to perfect his English. “It was a very formative moment, and something he really associates with freedom and falling in love. From the grandeur of the great houses and gardens and British-designed ocean liners to the food he ate, which, most found less than appealing in the '50s, the culture became an endless pool of inspiration for him. “And he loved British women – the way they wore their tweeds as well as their ballgowns,” adds Cullen.

Princess Margaret, who paid his boutique a visit during her first European holiday in 1949, was one such woman Dior was “delighted” to count as a client. “He was very proud of the secret shows he staged for the royal family,” Cullen explains. After he had shown his first collection at The Savoy in 1950, he presented the looks to the Queen, Princess Margaret, Princess Marina and Princess Olga of Greece at the French embassy. “The models were told they were going there for lunch!,” Cullen laughs of the covert operation. Accordingly, a highlight of the exhibition will be the Dior dress Margaret wore for her 21st birthday celebrations on loan from the Museum of London.

Dior's historical approach to fashion – he said of Britain, “I love this country because the past lies all around” – is often linked with the sober figure he presented in later life. But, Cullen advises, one of the most striking personal possessions on display will be a portrait of Dior from the 1920s. “He's portrayed as a young, colourful figure, not the grey suited one that comes to mind,” she says. Another piece that piqued the interest of the curator was Dior’s lucky star – an old metal token the designer found outside the British embassy in Paris. “He spotted it just when he was being approached to set up his own house, saw it as a sign and retained it as a lucky charm throughout his life,” notes Cullen. “He was always very superstitious – he consulted a medium and believed in signs and symbols. What’s lovely, though, is that the star has survived and it’s something that his successors have referenced.”

Each successive artistic director – Yves Saint Laurent, Marc Bohan, Gianfranco Ferré, John Galliano, Raf Simons and Maria Grazia Chiuri – and the sensibilities each has brought to the house are given equal weight within the exhibition, as well as the beauty division that has thrived under each helmsman. “Dior was always very interested in scent, it’s an important part of his story,” Cullen says of how the two have been interlinked since 1947, thanks to his childhood friend Serge Heftler-Louiche and his sister, Catherine, who worked closely on the perfume business with him.

Though the curation of 500 objects and transformation of the Sainsbury Gallery into the Dior world has been quick in relation to the V&A’s usual time frame, the museum laid the foundations of Christian Dior: Designer of Dreams long ago. “We’ve worked closely with the house and Soizic Pfaff, the wonderful archivist there, since the ’60s, so they were happy for the Paris exhibition to come to us,” Cullen summises. “The V&A audience has a real hunger for fashion, so we thought it would be great to show the amazing spectacle through our own lens.”

The exhibition "Christian Dior: Designer of Dreams" runs from February 2nd – July 14th, 2019 in the V&A’s Sainsbury Gallery. Tickets will go on sale in autumn 2018.

Lena Waithe Is About To Delve Into Sneaker Culture For Her Latest Project

Lena Waithe is a self-professed sneakerhead. She owns over 100 pairs and they’ve become somewhat of a calling card for her and her unstudied, laid-back style (though she’d probably laugh at that description). Jeffrey Katzenberg’s short-form video company Quibi announced it is are green-lighting an unscripted series conceptualised by Waithe titled You Ain’t Got These, that promises to get beneath the surface of trainer culture and explore how sneakerheads and the dealers and companies they buy from are influencing class, gender, race and politics.

Waithe has never really fancied herself a fashion person, telling Vanity Fairearlier this year that she doesn’t “feel validated” by compliments from industry insiders or people who think she looks cool, and that she doesn’t “want to blend in... I try to wear queer designers who happen to be brown and making shit.” That’s the thing about Waithe, every move she makes, whether it’s wearing a pair of Nikes laced up on a red carpet, or a rainbow-coloured cape to the Met Gala, carries a deeper message.

Waithe is outspoken about politics, race, and LGBTQ+ rights and her latest project promises to explore all of those themes through the lens of sneaker culture. Waithe will also capture the addictive personalities who thrive on getting their hands on the hottest kicks, as well as the self-expression that a single pair — or 100, in Waithe’s case — can foster. Details on the series are sparse at the moment, but with Waithe at the helm, it promises to be riveting and insightful. Waithe will no doubt teach us something thought-provoking and new, just when fashion folk thought we had it covered. That’s the coolest thing about her.

Vivienne Westwood Says No To Fracking With Abba

Today in Lancashire, Dame Vivienne Westwood got footloose for an important cause. The designer and longtime activist participated in a protest against the fracking practices of Cuadrilla oil and gas, and instead of merely marching down the streets outside the company’s headquarters, she decided to start dancing. Wearing a cloak made of scarves, Westwood did her own version of a breakdance to ABBA’s hit “Dancing Queen,” the same song that British prime minister Theresa May poorly shimmied her way through a couple of weeks ago at the nation’s Conservative Party conference. The leader was mocked on the Twittersphere and beyond. What better way for Westwood to throw shade than to perform her own version in the name of protecting the environment.

Her protest dance party comes at an alarming time, considering that the UN just released a new climate report stating that a global crisis might hit as soon as the year 2040. Outside of igniting the punk movement, Westwood has always been a vehemently outspoken leader when it comes to standing up for just causes and for the health and safety of our world, and she is one of the few in her industry who has been unapologetically vocal about these political issues. We need her moves and her punk vibes now more than ever. Here’s hoping that she keeps on dancing for a long, long time like the queen that she is.

Dover Street Market & Farfetch Team Up On Digital Jewellery Hub

At surface level, Dover Street Market and Farfetch might not appear to have much in common. The former, a hallowed concept store famed for its unique edit of offbeat brands and the glorious environments it allows them to showcase their worlds in. The latter, a leading innovator in the online shopping arena, which is constantly driving expansion. In unexpected fashion news, the two retailers have collaborated on a digital jewellery hub.

Entitled “Farfetch Curates – Dover Street Market Jewellery Edit”, the platform will combine Dover Street Market’s jewellery expertise with Farfetch’s global reach, so emerging designers and fine jewellery brands alike can capitalise on Farfetch’s vast network of shoppers. A win-win, right?

“We have had an online presence with jewellery on our own site for many years, but in a small, very curated way,” Dover Street Market vice president Dickon Bowden and director of jewellery Mimi Hoppen tell Vogue of the project. “Our designers were very happy to be involved in this project – they understand the power of ecommerce and the huge potential that Farfetch holds for them. And they know that our intention is to support and grow their businesses together in a way that is right for them.”

The selection includes new collections from the Dover Street Market team’s favourite designers, including Sophie Bille Brahe’s Botticelli earrings and rainbow sapphire styles by Suzanne Kalan. Fledgling artisans who are currently booked exclusively with Dover Street Market, such as London-based Castro Smith, are also given air time in the online space that sings of Dover Street Market’s minimalist aesthetic.

“We wanted to showcase the jewellery in the most simplified, uncomplicated way; matter-of-fact and beautiful,” Bowden and Hoppen explain. “Dover Street Market and Farfetch have very different visual identities, so it was exciting for both sides to work on a project bringing these two worlds together.”

The partnership follows the launch of Farfetch’s dedicated fine watches and fine jewellery hubs in May 2018, to which the company has had an “incredible response”, Giorgio Belloli, chief commercial and sustainability officer, tells Vogue. It is also the latest instalment of Dover Street Market’s own fine jewellery expansion plan, after it partnered with Selfridges on the jewellery edit within its accessories hall earlier this year.

“Jewellery as a category has become a very important part of our business,” Bowden and Hoppen note of the dedicated jewellery spaces within five of Dover Street Market's stores – and the potential for growth. “Working with companies like Selfridges and Farfetch allows us to increase sales in a measured way that also protects our designers.”

Don’t see the union as a sign of Dover Street Market trying to run alongside the retail giants, however. “For us, the focus is always about finding and nurturing new talent, showcasing beautiful creations from the best designers and presenting the jewellery itself in an interesting way,” Bowden and Hoppen clarify. “Looking forward to 2019, we will be continuing to push ourselves to do this.” Those beautiful pieces will just be easier to buy.

Are You Ready For Fendi Mania? Adwoa And Dilone Present The Next Cult Logo

If you thought the Fendi/Fila logo hybrid had become ubiquitous, get ready for Fendi Mania. The capsule collection, which launches on October 16th, has Gigi, Bella and Kendall’s names written all over it.

Where Fendi/Fila was all about segueing streetwear into the brand's luxury offering, Fendi Mania was conceived as the next step on from this ’80s athletic aesthetic. Yes, it’s still all about the monogram trend – those signature double Fs cohabit with the Fendi/Fila logo, which was originally designed by Instagram artist @hey_reilly, but new motifs come into play. Stars and fringing give the collection a Western lilt, but, as the campaign video starring Adwoa and Dilone above proves, those tassels don’t impinge on the streetwear vibe. Or gymnastic ability, it turns out.

In keeping with the name of the capsule, Fendi is staging a series of simultaneous events around the world. Pop-up stores will open on Los Angeles’s Rodeo Drive, London’s New Bond Street and in Shanghai’s Plaza 66 and Tokyo’s Ginza Six, amongst others, as well as special displays in 56 Fendi boutiques from October 17th. Did we mention there will be DJs and celebrity appearances? With the Kardashian West family firmly in the Fendi family fold – Kim and North fronted the #MeandMyPeekaboo campaign in July 2018 – as well as the numerous models who have been toting the FF logo for months, Fendi really does mean celebrity. Fendi Mania is just another example of Karl Lagerfeld and Silvia Venturini Fendi showing that they're down with the kids.

Remembering Anna Harvey

The mere mention of the name Anna Harvey could make people sit up straight and pull themselves together. I worked at British Voguein the late ’80s, during some of the years she was discreetly dressing the Princess of Wales while also orchestrating haute couture sittings that produced full-body chills in readers. Her work as fashion editor was all over the magazine when I was there, dazzlingly setting the scene for girls-together glamour that would leave young designers gasping now: Christy, Linda, Naomi, Cindy, et al., living it up in Chanel suits, Lacroix poufs, YSLshoulders, Ungaro ice-cream swirls, and high hair.

Harvey’s death last week at the age of 74 has brought an outpouring of respect and grateful memories of her 40-year career at Condé Nast. She was the brisk embodiment of old-school English reserve, a deeply experienced behind-the-scenes champion of talent—frosty on the outside, kind on the inside – whose influence went global when she became Editorial Director of New Markets, overseeing new editions in China, India, Russia, and more. “Anna acted as a teacher and adviser to editors who were creating Vogue for the first time,” said Jonathan Newhouse, Condé Nast International Chairman and Chief Executive. By the time she retired, she’d help create more than half of the international editions. “With a mixture of patience and firmness, kindness and toughness, she instructed, demanded, imparted knowledge, and worked with inexperienced editors and art directors to bring out their best,” Newhouse continued.

The fondness and attachment she inspired, once she approved of someone, were expressed by Indian Vogue Editor in Chief Priya Tanna. “She was soon anointed ‘Mummyji’ for being the fiercest champion and cheerleader of the editorial team,” Tanna wrote last week. Harvey’s friendships with many former protégés continued on Instagram long after she retired.

The trouble is that much of the trail of Anna Harvey’s influence is undetectable. Her direction of brilliant fashion images – like sitting Christy Turlington, wearing a layer cake of a hat and a white lace Chanel suit at a busy Paris café, and having Arthur Elgort photograph her reportage-style in 1988 – was never credited on the pages of the magazine. It was the era when the anonymity of fashion editors still reigned.

Then there was her ultra-reserved character. From 1980, Harvey guarded her relationship with Princess Diana with the steely secrecy of an MI5 operative—her firm diplomatic demeanour meant that Diana’s designers knew that if they breathed a word to the press, jettisoning from the charmed service would be swift and irrevocable. Harvey spoke about some of their history only after Diana’s death. In a piece for British Vogue, she wrote about how she saw the once-clueless 19-year-old through, from being a Sloane Ranger to her Dynasty Di years to becoming an athletic superstar in Versace. In the beginning, Harvey wrote, “She really had nothing in her own wardrobe – a few Laura Ashley blouses and skirts, and some bobbly jumpers. That was it.” Harvey helped her into the early ’80s fairy-tale couture dresses—Bellville Sassoon, Bruce Oldfield, Victor Edelstein, Gina Fratini – that look so inspiring to new eyes today. Indeed, echoes rebound in Gucci, Marc Jacobs, and beyond.

Typically, Harvey deflected all the initiative onto Diana: “She wanted to wear British because she felt it was something positive she could do for the [British] fashion industry. She was a very English girl and the romantic style suited her. Everyone was thrilled to do things for her; there was such a feeling of euphoria that here was this young, glamorous girl who loved clothes.” Harvey also tactfully introduced her to Sam McKnight. "I was terrified of Anna at first because you knew she was stern, formidable," the hairstylist admits. "What she had as an editor was classic elegance, but it was never frumpy. I mean, the first time I met Diana, Anna had her sitting on the floor in a white Victor Edelstein ball gown, wearing a tiara, to be photographed. That had never been done before. I cut her hair after we’d finished that day."

Sarajane Hoare was a young British Vogue fashion editor at the time – as I remember, running around in biker shorts, Principal Boy jackets, and ballet shoes while senior editors stalked the halls in power-shouldered Chanel pencil skirt suits, opaque tights, and Manolo pumps. "Anna knew how to make couture look modern," said Hoare. "She had that incredibly chic posh English taste. I remember she could shoot a rubber dress and made it look classy." Equally, though, Hoare saw Harvey’s innate kindness. "I found her the warmest person in the office. She was sheer sanity, and her forte was encouraging young people. It made her just the perfect partner for Diana. I learned a lot about that impeccable style from her. I think that’s what she did for Diana. Taught her and also said, ‘Go on—you can do it!’"

Harvey’s quiet gift for personal relationships, her fashion eye, and the standards of professionalism and etiquette she lived by were the qualities that made her the ideal hands-on ambassador when Vogue went into international expansion. “I consider the role Anna played to be the most difficult editorial role in the organisation, more challenging than actually editing the magazine,” said Newhouse. “She was brilliant.”

Behind her intimidating exterior, Harvey was a mother figure and life coach to two generations of young women at Vogue in Britain, and then around the world. She showed by example – and often by direct advice how it was possible to have a family, a career one loved, and a private life to treasure. Harvey leaves her four children, her husband Jonathan Harvey, and her adored grandchildren, and a legacy that touched more people than she would probably have ever guessed.

Tommy Hilfiger Taps Zendaya For Next Collaboration

After two years and four collections, Gigi Hadid and Tommy Hilfiger put their hit collaboration to bed in February 2018. But who could replace the all-American model as the brand’s next Generation Z poster girl? Step up Hailey Baldwin, Winnie Harlowand now Zendaya.

While Baldwin and Harlow co-created pieces for the Tommy Icons September 2018 show in Shanghai, Zendaya has been crowned the new global Tommy Hilfiger women’s ambassador. As well as appearing in the mainline campaigns, she will design a Tommy x Zendaya capsule collection, which will infuse her eclectic style with Hilfiger’s Americana aesthetic.

“Fashion is more than just wearing cool clothes,” said Zendaya, whose wardrobe is a close collaboration between herself and stylist Law Roach. “It’s a way to celebrate self-expression and individuality, which is extremely empowering. This is why I am proud to partner with Tommy Hilfiger.”

The feeling is mutual: “I love to collaborate with people who are passionate about making their dreams a reality and who inspire the next generation to do the same," Hilfiger commented in a statement. “Zendaya has become a global icon, using fashion to make bold statements while always staying true to herself.”

But if Hilfiger seems to have a rolodex of bright young stars who have something to say, this is nothing new. In the ’90s, he outfitted Aaliyah, Mark Ronson and Usher in his designs, and made David Bowie and Beyoncé brand faces. Zendaya, like Gigi Hadid before her, is just the latest example of Hilfiger’s expertise at tapping into who’s current.

After the emotional final Gigi x Tommy catwalk show, Hadid told Vogue that the experience had given her a huge confidence boost. “I felt really lucky to have that responsibility and I took it really seriously,” she said. “With each collection, I learned more how to step into my power in a way in terms of being confident in myself.” For 22-year-old Zendaya, who has slowly but surely become a household name owing to her performances in Spider-Man: Homecoming and The Greatest Showman, the future looks even brighter thanks to Hilfiger.