Amber Heard Dives Straight Into Aquaman Press Tour

There are myriad of amphibious metaphors that can best describe Amber Heard’s look at the London premiere of Aquaman last night. But, the swimming cap itself speaks a thousand words.

Heard, who plays underwater queen Mera in the DC Comics adaptation, made a splash in London’s Leicester Square wearing Valentino couture autumn/winter 2019. Sea-green with swirling silver and gold embroidery, it was as if Pierpaolo Piccioli had made the gown and accompanying headpiece specifically for this moment.

Heard, steely with concentration, accessorised the head-to-toe ornate craftsmanship with a single bejewelled earring, gold neck chain and gargantuan gold Brian Atwood platforms that seemed to reflect her status as a self-professed “bad ass” of the ocean.

With a plethora of brilliant couture and evening wear – and brand endorsement deals to adhere to – it’s rare that an actor looks directly to the theme of a film to dictate a promo tour wardrobe (Blake Lively on the trail for A Simple Favor and Keira Knightly fulfilling her Nutcracker press dutiesare recent exceptions). When it happens, however, it’s a rather magnificent thing. As Piccioli told Vogue about the power of couture after the presentation of this particular gown: “It's fantasy, intimacy, emotions altogether…" Perfect for riding the red-carpet wave of an extraordinary franchise in.

What We Can Expect From Victoria Beckham's YouTube Channel

Perhaps Victoria Beckham got a taste for viral videos after her British Vogue “Decade of Elegance” short in celebration of her brand’s 10th anniversary. Perchance the designer needed a distraction from the endless Spice Girls tour announcements. Or, maybe she just couldn’t say no to YouTube fashion and beauty director Derek Blasberg. Whatever the reasoning behind her decision to launch her own YouTube channel, there’s plenty to get excited about.

The channel “will be full of styling tutorials, lots of stuff from me and apparently you naked,” Beckham tells Blasberg in an Instagram clip announcing the news. “Apparently people want it. It’s what they want, what they really really want. And it’s coming to my channel.”

Beckham’s page on the video platform has so far attracted over 20,000 subscribers, who can enjoy previous catwalk shows, insights into her company and beauty tutorials including "Red Carpet Ready Eyes", "Festive Sparkle" and "Victoria Beckham's Take On Pink".

“This is a new chapter right now. I can put my foot on the gas and do everything that I’ve wanted to do for a long, long time,” Beckham continues, before Blasberg queries her driving skills. “Have you not seen Spice World?” Beckham laughs. “Did you see how bad I am?"

Rei Kawakubo Enlists Gucci And Burberry For Comme Des Garçons’ Holiday Capsule

Comme des Garçons’ Christmas campaign is all about inclusivity and “how people can come together and work together,” according to Adrian Joffe, president of Comme des Garçons International and chief executive at Dover Street Market.

Of course, when you're Joffe and Rei Kawakubo – the husband and wife duo behind the brand empire – the list of collaborators to call on is perhaps lengthier than most. And so, Kawakubo enlisted Gucci’s Alessandro Michele, Burberry’s Riccardo Tisci, John Galliano, Jean Paul Gaultier, Simone Rocha, Craig Green, Marine Serre, Walter Van Beirendonck and Stüssy to help conceive the Comme holiday capsule.

The brief for each creative was to supply an “iconic” piece of clothing, an accessory or design fragment that would enable Kawakubo to develop a holiday item from it. Within the nine-piece festive offering, Burberry’s signature check scarf becomes a charged neck tie that reads “My Energy Comes From My Freedom”; Jean Paul Gaultier’s Breton stripes are splashed with red polka dots; and Stüssy’s surfer logo is distorted to bold effect. The redesign of Maison Margiela’s Aids charity T-shirt, meanwhile, is the first time the brand has ever collaborated with another fashion label.

“We have always enjoyed the synergies of CDG-style collaborations, which is not about brainstorming and back-and-forth with the other party, but about trust and respect,” Joffe told WWD about the process. “Rei does not enjoy two captains on a ship. So, we either leave it to them or ask that they leave it to her. The nine brands were very happy to leave it to her this time.”

The edit, which is priced from £195-£390, continues two decades of unique Christmas capsules from the brand. In the past, Kawakubo has looked to Disney’s Frozen and seasonal film favourite The Grinch for inspiration, as well as creating sell-out garments in the dotty motifs and bold colour schemes that are synonymous with the label. The displays that feature in Kawakubo’s boutiques in Japan, and that will be rolled out to Comme des Garçons' and Dover Street Market stores from December 6, are also decidedly less Yuletide, and in line with Kawakubo and Joffe's own vision.

Miuccia Prada To Receive Outstanding Achievement Award At Fashion Awards 2018

Miuccia Prada will receive the Outstanding Achievement Award at The Fashion Awards 2018 in partnership with Swarovski.

Since joining the family business in 1978, Mrs Prada has spearheaded the evolution of the Prada group from a family business to a global brand and tastemaker. Her first line of accessories at the creative helm – the now-iconic black nylon backpacks she conceived as an antidote to the classic, ladylike bags that she hated – became the benchmark of what the brand stands for: to challenge "the traditional, conservative idea of luxury", she told Vogue earlier this year. Since that agenda-setting nylon, she has continued to use fashion as a voice, to create uniforms for women and men who don’t tread the same path as anyone else, and "to go against the rules, the cliché".

“Mrs Prada is the most revered, most inspirational and probably the most copied designer of her generation,” Vogue editor-in-chief Edward Enninful commented. “She’s bold and she’s not scared to break rules or go into new territory. She has made us look at body shape differently. She has made us look at what is ugly and what is beautiful. She has trained people’s eyes to a new way of dressing, one that is not based on the classic idea of the female form. She’s a genius!”

In accepting the award at the December 10 ceremony held in London’s Royal Albert Hall, Mrs Prada joins honourees Donatella Versace, Ralph Lauren KBE, Karl Lagerfeld and Manolo Blahnik CBE, to name a few, who have previously been recognised for their contribution to fashion.

Richard Malone On His Plans To Democratise Fashion, Starting With His New Exhibition

Richard Malone has long been one of London’s most exciting young designers – not only for the fact that he is resolutely resourceful in his approach to creating clothes, or that his pieces are so curiously cut that they fall into fluid sculptures, but that they are designed with an intimate understanding of the women who wear them. Malone built his business through the patronage of women so enamoured by his work that they would custom-order garments – and, besides the financial support that offered him, it equally gave him an insight into the lives they lived, the pockets they needed, the washing machines they used. Accordingly, his brand is imbued not only with avant-garde aesthetics but practicality.

It’s rare to find a swirling concertina cape that springs into shape when you pull it out of a suitcase, or a wipe-clean skirt made with both sustainable fabric and meticulous finesse, but through endless experimentation, Malone has managed to create such pieces. Equally, by elevating the aesthetic signifiers of his Wexford roots (think: Argos uniforms and scaffolding signage) into fabulous fashion, he is determined to dismantle the class barriers that can appear so obstructive within the industry and make efforts at democratising its mystique.

His new exhibition, held at Greenwich’s NOW Gallery, hopes to invite its audience into his world and engage them with the processes he uses to design: his conversations with his clients, the fabrics he experiments with, the toiles he manipulates. “There’s a real conversation around the elitism of fashion that I wanted to highlight,” he explains. “How with art you can experience it without being able to afford it, but with fashion those opportunities are quite rare so we need to work on making it more egalitarian and inviting." Below, he explains in his own, brilliantly blunt words where he found inspiration, and what he hopes for in holding his first solo art show.

Why is the show titled Rinse, Repeat?

It refers to the cyclical nature of fashion, to the actual process of making these huge collections. I want to remove the wall between the viewer or wearer and the artwork or garment, and be super open with how you get from scribbles and ideas to a finalised piece. I guess the title is also a nod to the shitty laundrettes I grew up surrounded by – one particular example, Marlowe’s Cleaners in Wexford, comes to mind. I love the language in those types of environments: totally functional and clear.

Can you explain the concept behind the exhibition? Why did you want to do it?

We kind of accept fashion now as small images on our phone screens that last little more than a few seconds, and the actual process can be totally overlooked. But the idea of experimenting, or making for making’s sake, is really critical to me, because I do all of the pattern cutting and fabric design myself. The reason I do what I do is down to the excitement and love of making something new – I never intended to be a product designer. This exhibition allows me to have a blank canvas to work within, and that’s super refreshing when my schedule is quite regimented due to the fashion show system. It’s almost been like giving myself a breather, and some really vital time for reflection. I always like to check myself and make sure I'm doing what I love, because I’m not a fan of a lot of the fashion industry and I don’t want to get drawn into a toxic cycle – or at least, want to resist it as much as I can.

How would you explain your approach to designing clothes? How would you define the Richard Malone brand?

It’s a mixture of being informed by actual clothing – from the sorts I grew up around, like building site clothing and Argos uniforms, to research into into centuries-old tailoring techniques and cutting. I suppose its a way of elevating aesthetics that are slightly nostalgic to me, that are really vested with meaning and memory but, instead of appropriating those codes, trying to push them into a newer territory.

You built your early business by selling to private clients. Why did you want to include them in the show? How have your conversations and interactions with them informed what you do?

I have a really close relationship with all of my customers, and I value the conversations we have around clothes and the general state of this industry immensely. These women have been buying fashion for many years, and have incredible personal archives that are truly enriched by the stories and memories they have attached to them. Each woman is completely different, and I've always tried to avoid creating an “ideal” of this customer through bullet points or terms, which in turn allows me the freedom to avoid creating collections for a specific demographic or purely for commerce, which for me would be very painful. I’ve also learned a tonne of practical things by making clothes for these women – things like how often babies get sick and ruin good clothes, and the practical pressures of being one of these amazing women with a whole life to run outside of their work.

Sustainability is an incredibly important part of your brand. How is that reflected in the exhibition?

All of the pieces in the exhibition are made from ex-stock and repurposed knitting yarn destined for landfill, which has been left in a warehouse ever since school uniform manufacturing moved overseas. I’ve re-knitted it into recognisable rib fabrics, and then patchworked them together using every bit of waste. The cutting technique is circular, so everything fits almost ergonomically around the body, and shapes can be remade or altered for all body types. Excess fabric is re-patchworked into the next shape - so there’s a fluidity and relationship between each piece – a rinse, repeat effect.

Your work explores your personal roots – how has coming from a working class background informed your designs? 

I think that your upbringing is an inevitable influence on your designs or creative output. Initially I was quite self conscious because, in art school, especially here, the majority of students are from upper middle class backgrounds or private schools. But I soon realised it was a strong point of difference to have, and to embrace it. It’s really important to have someone from that background represented and vocal, as most people from my background now just couldn't go to university: finding the fees is simply not possible.

My own cousins, who might see where I’ve gotten to and want to pursue something similar, realistically can’t. That breaks my heart. There is a section of the exhibition that is about sentimentality, of ways of designing or drawing that are directly linked to my home and family, particularly my grandmother. She only got as far as primary school education, but has been drawing and making her whole life. I find that love of making, and also that hunger for learning, incredibly inspiring because the odds of it happening were stacked against her since the beginning but she did it for her own enjoyment and curiosity. It’s the same with my parents, who really didn’t have a chance at second or third level education, but they really pushed their children to pursue what we were passionate about. I was working two part time jobs at Central Saint Martins just to get in the door, but it gave me a tunnel vision and a resilience that I can apply to anything.

What are you particularly proud of in the exhibition?

That it’s democratic – the performance aspect of it is literally projected onto the outside of the building, so everybody can be involved. Underpinning it all is a sense of freedom, joy and of resistance: it takes a lot to be creative in these times, to ask questions and to expose why or how you're making, but its really very critical. Also including some of my grandmother Nellie's work in the exhibition makes me really proud: I have such massive respect and admiration for her, and she's super excited about it. A part of the exhibition is maybe a love letter to a lot of the people I really admire, who are mostly incredibly strong women, and showing how they have inspired my process.

Fashion's Biggest Cheerleader Marc Jacobs Tries On Balenciaga's Much-Memed Coat For Size

The happiest coat of all,” decreed Marc Jacobs of his new XXL Balenciaga coat. The designer posted a video of himself wearing the souped-up outerwear as he bundled himself and three dogs into the back of his car, which looked comedically small for his canine entourage.

Jacobs had been a keen buyer of his Balenciaga. After stealing a front-row look at the multi-layered, multi-functional coat at the autumn/winter 2018 show, he put in his pre-order for look 67 just days later. “Demna, you outdid yourself! Literally, figuratively, and with all the layers to prove it!” he enthused about his purchase via Instagram, followed by a resounding stream of hashtags: “#gratefulnothateful #Ilovefashion #bringonthecoldweather #I’msoready”. Keep scrolling down his feed, and you'll spy another (slightly less padded) Demna Gvasalia AW18 jacket design, too.

Followers of Jacobs’s career will know that he has always been a cheerleader of fellow brands. During that same Paris show season, he applauded the presentations of Miu Miu and Chanel, as well as Balenciaga, from the sidelines. And weeks later, he supported Jeremy Scott, who interned for Jacobs at the start of his career, by keeping the front row of his Moschino x H&M show in New York warm.

Jacobs’s most memorable looks of the past, meanwhile, have been purchased from what many would deem as competitors. The much-lauded lace dress he wore to the 2012 Met Gala? A spring/summer 2012 Commes des Garçons confection that he shrugged off as “just a lace dress" while paying homage to the two heroes behind the Schiaparelli and Prada: Impossible Conversations exhibition.

"I think Miuccia Prada is such a celebration of the unconventional and so it felt like, appropriate, somehow,” he told the evening's red-carpet compere Elettra Wiedemann. “They are two women [Schiaparelli and Prada] who I have always loved the work of; I mean Schiaparelli is one of my all-time heroes and Miuccia Prada continues to be a hero of mine.”

From sheer dresses to Joey Tribbiani coats, Jacobs, the poster boy for everything that is brilliant about the industry, is, as he said himself that night, "never boring".

Sophie Turner Teams Up With Louis Vuitton To Help Children At Risk

Louis Vuitton has enlisted Sophie Turner to raise awareness and maximise the outreach of its #makeapromise campaign in collaboration with Unicef.

For the last three years, the brand has sold silver Lockit bracelets to aid Unicef’s mission to help children in vulnerable situations, such as the refugee camps in Cox's Bazar, Bangladesh. With Unicef's assistance, the Bangladeshi government has been able to vaccinate 900,000 children and adults against cholera and save over 263,000 children from malnutrition. The £100 from each £175 bracelet sold only bolsters these numbers.

In comparison to last year’s fluorescent jewellery, the silver Lockit from Sophie Turner is braided with red and white cord and comprises a rabbit charm inspired by her most recent tattoo. "Sophie put so much time and thought into the distinctive design," Mark Devlin, chief operating officer for Unicef UK, said about the actor's adaptation of the Lockit, which was inspired by the the tumbler lock invented by Georges Vuitton in 1890 to protect his clients’ belongings.

“The idea of the #makeapromise campaign comes from children,” Michael Burke, chairman and CEO of Louis Vuitton, told Vogue of its philanthropic project. “When they make a promise, they mean it, and they seal it with a pinky promise. Children show us a simple way to change the world. It’s all about joining forces worldwide to raise funds and awareness for children. We believe in the word of mouth. Our goal is to reach as many people as possible and to make a real difference.”

Since the launch of the silver Lockit in 2016, the partnership has raised over five US million dollars for Unicef. So, if you're still plotting out your Christmas gift list for family and friends, consider Turner's trinket – it'll go a long way

Camel, Taupe, Fawn, Honey: Riccardo Tisci Unpacks His Beige Proposition In First Burberry Pre-Fall Collection

If Riccardo Tisci’s debut spring/summer 2019 Burberry show was a mammoth 134-look exploration of the breadth of customers that his brand vision might appeal to, his first pre-fall 2019 collection is no less impressive.

“I wanted this collection to be a continuation of the story I began to tell in September,” Tisci told press of his second line for the house. “I’m focusing on establishing our codes through archive prints, house colours and iconic outerwear, while cementing the new themes I set out last season, including the Thomas Burberry monogram, eveningwear and tailoring.”

Sound vast? It is. Nowhere more so than the outerwear section, where trench coats, car coats, duffle coats, tuxedo jackets, parkas, Harrington jackets, puffer capes and tailored jackets all feature in multiple fabrications and colourways across menswear and womenswear. And, if you hadn’t previously appreciated the difference between archive beige, camel, warm taupe, pale fawn and warm honey within the muted spectrum, you certainly will now.

The TB bag, which was first introduced on Tisci’s inaugural Burberry runway, has stepped up a notch to include canvas and leather styles in varying hues, and a monogram leather style with a double chain strap. A new tote with a three-snap fastening, dubbed the Title bag, will also join Burberry's accessories line-up in May – but you'll have to wait until next year to see it.

On the footwear front, square-toe pumps, block-heel mules, T-bars and stretch-leather sock boots are interchangeable options to wear with the clothing in 50 shades of beige and stand-out scarf prints that punctuate the palette.

“I like merchandising collections,” Tisci told press in September. “I like making dreams, but I’m very real.” As the chief creative officer narrows his expansive Burberry outlook – remember that customers also have his monthly "B Series" drops and the collaboration with Vivienne Westwood to look forward to – there is still something for everyone in his dynamic follow-up.

Anya Hindmarch Finds Labelling Machines So Sexy, She's Made A Collection In Homage To Them

Anya Hindmarch is on a mission to claim back her weekends. To do this, she's getting organised – so much so that she is staging a “celebration of organisation” at her Sloane Street store. She’s even renaming it the “Labelled Concept Store” after her penchant for labelling machines, decking the whole place out to look like an office and stocking an entire collection based on labels.

“Call me sad, but I find systems exciting and labelling machines sexy,” she tells Vogue. “There is barely a digital task list that I haven’t tried, and if my inbox is full, I feel like I haven’t washed my hair. This concept store explores best practice in this area and celebrates the joy of a place for everything and everything in its place’.”

As well as browsing the selection of pockets, pouches and bags embossed with labels during the concept store’s November 22-25 opening period, filing aficionados and novices alike can enjoy a series of talks and workshops. Overwhelmed by an inbox overload? In a pickle with list management? Hindmarch’s team of experts have got your back.

“I wanted to bring our customer into my compulsively organised world and offer a unique retail experience,” the designer continues. “I challenge anyone to leave without having learnt at least one thing that could be a game changer at improving their productivity.” The on-site embosser for all your labelling needs will also be quite hard to resist.

To add to the carefully curated fun, Hindmarch has asked a handful of her friends to share an insight into how they pack the bags and kits that are essential to their mental wellbeing. Val Garland has opened up her make-up bag, Yasmin Sewell has shared her in-flight essentials, Alex Eagle gives a glimpse into her baby emergency kit and Sarah Andelman reveals the components that make up her ideal lunchbox.

Has Hindmarch picked up any useful advice along the way? Number one: “Have a dedicated system,” she recommends. “Store things in categories, for example, first aid, Euros, chargers, make-up.” Number two: “Invest time in planning. As Benjamin Franklin said: ‘For every minute spent organising is an hour saved’." And number three: “Be ruthless about culling. A silted-up house is inefficient, it is never clean and tidy and brings bad energy.” Those weekends have started looking clearer already.

Instagram To Remove Fake Followers And Paid-For Likes

Ever feel like someone you followed on Instagram was getting really insanely high numbers of likes out of nowhere? You may have been on to something. In the wake of similar crackdowns on social media platforms like Facebook and Twitter, Instagram has announced that it will begin banning paid-for likes and followers in the coming weeks, in an effort to restore trust among the popular platform’s users and advertisers alike.

“Recently, we’ve seen accounts use third-party apps to artificially grow their audience,” the platform noted in a new release posted to its website. “People come to Instagram to have real experiences, including genuine interactions. It is our responsibility to ensure these experiences aren’t disrupted by inauthentic activity.”

Using a slew of new “machine learning tools” developed to help suss out the identities of “suspect” users, Instagram will begin removing inauthentic likes, follows, and comments from accounts believed to be employing third-party services to boost popularity and follower counts. While the new policy notes that old posts won’t be targeted retroactively, affected users might, in fact, wish otherwise: With the change, old posts will continue to show “purchased” likes and comments, but new ones will be necessarily lower in number. Needless to say... embarrassing.

Fake followers and likes have always been explicitly against Instagram’s terms and conditions, and the platform has long removed fake accounts, but today’s announcement marks the first time that it is making a big stand against fake activity, what the platform has now deemed “bad, unwelcome behavior.” Though fake followings have arguably helped Instagram to become a highly profitable platform, it seems, at least for today, that the moral issue at hand is more important.

FASHIONmode 1 -´International Fashion Week Critiques S/S´19´

The months of September and October saw the re-ignition of the ready-to-wear fashion calendar for the end of this year. All the international fashion houses collectively presented their offerings for the Spring / Summer ´19 collections, across the four corners of the globe. In this first show, Charles Daniel McDonald takes a detailed look and in-depth critique at their European offerings; with Paris acting as the protagonist.

FORÇ Magazine - FASHIONmode Show 1

What Will Lady Gaga Wear For Awards Season?

With “Shallow” cemented in the psyche of the cinema-going population, we’ve all thrown the big question out there – will Lady Gaga take home the 2019 Best Actress Oscar? – while talking fondly of Bradley Cooper’s tan in A Star is Born. Spare a thought, then, for Gaga’s stylists, Sandra Amador and Tom Eerebout. As awards season creeps ever closer, the duo must start mapping out potential red carpet and acceptance speech-worthy ensembles, despite no nominations having been announced.

“It’s on our radar,” Amador told Vogue tentatively after the A Star is Bornpress tour had wrapped up in October. “It will be amazing if [awards season] does end up happening because, aside from her talent, what really makes her an icon is the fact that she uses her platform for important issues. She doesn’t shy away from it.”

And therein lies the complexity of constructing a look for Gaga. As we have seen throughout her career, she will push the envelope as far as is physically possible – remember 2010’s meat dress? – for her progressive art-meets-fashion, but her looks are rooted in concepts, be they abstract, political or in support of a designer she is close to. And that requires plenty of time for brainstorming, research and construction.

“We typically start with ideas and dreams,” Amador explained. “[We] can put anything on the table because she wants to tell a story… Then we [Amador, Eerebout, hair stylist Frederic Aspiras and make-up artist Sarah Tanno] bring our individual research together and evolve the idea into something bigger than ourselves.”

From the pink feathered Valentino in Venice to the statuesque metallic Givenchy gown in LA and the mass of ornate McQueen in London, everything on the promo trail was “100 per cent a collaboration between all of the creative individuals,” Amador shared. And the recent string of Celine looks she has been modelling down to her friendship with Hedi Slimane and allegiance to his vision for the house. (Side note: we haven't seen Gaga in Slimane's glitzy, short-hemmed eveningwear yet).

Team Gaga were out in force this weekend for the Governors Awards. The event, which is now in its 10th year, might not have the same status as the SAG Awards, Golden Globes et al, but it can be considered a warm-up act for the coming months.

So, what can we read into her red-carpet look – a sweeping, off-the-shoulder black Valentino dress from the spring/summer 2019 collection? Pierpaolo Piccioli’s voluminous designs have been a previous favourite of Frances McDormand, who used her time on the stage during the 2018 awards season to promote equal pay. And Valentino has resolutely become a fashion editors’ favourite under Piccioli’s solo reign. So, the oversized option might seem safe, but the label carries significant weight and leaves the path Gaga might tread towards the Dolby Theatre ambiguous. This is crucial in terms of keeping the bespoke commissions (from the brands, the stylists said, came calling after Gaga’s cinema debut) a surprise.

Distilling various examples of Gaga’s style as a Hollywood actress in order to predict what these personal orders could look like is impossible, but, as always, there are adjectives to describe the persona she will continue to present as a performer: bold, empowering and, as Amador says time and time again "fearless". Expect the unexpected come January.

Celine To Join Paris Menswear Show Schedule

After Hedi Slimane premiered Celine menswear via a co-ed catwalk show on September 28th, the brand has announced that it will join the Paris menswear calendar in January 2019.

Celine is currently negotiating a show date with the Fédération de la Haute Couture et de la Mode, and it is not yet known whether the brand will present solely menswear, or whether Slimane will pepper the offering with womenswear as per his debut.

The move is indicative of the fact that Celine’s parent company LVMH has got its sights set on the burgeoning menswear market. When Slimane took the helm in February 2018, it was made clear that the new category will be a key sales driver, along with leather goods, accessories and fragrances. “The objective with him is to reach at least two billion to three billion euros, and perhaps more, within five years,” LVMH chairman and CEO Bernard Arnault said of Slimane's appointment. “Everything is in place for this brand to achieve quite exceptional growth.”

In the last year, LVMH has appointed new head designers at Berluti, as well as the menswear divisions of Louis Vuitton and Dior. And, just weeks ago, Givenchy, another brand within the French conglomerate’s stable, announced that it will rejoin the menswear calendar for the autumn/winter 2019 season.

As a growing number of brands, including Maison Margiela, Stella McCartney, Balenciaga, Haider Ackermann and Sonia Rykiel, merge their menswear and womenswear for the sake of presentations, LVMH is making great strides to make a splash on both schedules and to take a hold of both markets.

Zac Posen Shares Details Of Princess Eugenie's Wedding Reception Dress

The Peter Pilotto wedding gown that Princess Eugenie wore to wed Jack Brooksbank on October 12 was widely publicised – from the personal symbols that were interwoven on the corseted silhouette to the low back that the bride specifically requested to show the scars from her childhood scoliosis surgery. The same was not the case for her second gown – a blush-pink Zac Posen confection she commissioned for the reception in Windsor Castle's Royal Lodge.

Due to the private nature of the party, only one picture (captured by the wedding photographer, Alex Bramall) was released of the Queen's granddaughter wearing the rosy silk gown – which, according to Buckingham Palace, was inspired by the "beauty of Windsor and the surrounding countryside". Now, its creator has shared details of the bespoke number.

Posen took to Instagram to share two shots taken inside his New York atelier alongside the caption: "The back by popular demand, before the final #whiteroseofyorkembroidery was placed.” The images show delicate buttons uniformly stitched down the back of the dress and a long train cascading down from its shoulders. As the designer mentions, the only detail that hadn't yet been added when the photographs were taken was the White Rose of York, which was embroidered onto the shoulder of the dress to pay homage to Eugenie's roots as Princess of York.

At the time, Posen said that it had been an “incredible honour” to create a dress for the royal's special day, adding that "her grace, elegance and strength perfectly embody everything I could hope for in a woman wearing our design”. The 28-year-old chose to accessorise with diamond and emerald drop earrings – a wedding gift from Brooksbank – and a hair slide that was once worn by Queen Victoria in order to let her Posen dress take centre stage.

Louis Vuitton To Stage Cruise 2020 Show In New York

After travelling the world, from Kyoto to Rio de Janeiro, Louis Vuitton is bringing its resort show to New York. On May 8 2019, just two days after the Met Gala (and the day before his birthday), Nicolas Ghesquière will present his cruise 2020 collection in New York. The designer announced the news on his Instagram with a video montage of past resort locales.

Louis Vuitton is not providing any additional information about the show just yet, but judging by past affairs it’s sure to be star-studded and held in an architectural masterpiece. Ghesquière’s first cruise collection for LV was staged in a John Lautner–designed house in Palm Springs that once belonged to Bob Hope. It was followed by a presentation at Oscar Niemeyer’s Niterói Contemporary Art Museum in Rio; a show at Kyoto’s Miho Museum; and last May’s event at the Fondation Maeght in southern France.

In New York, LV has held events at the former stock exchange, the South Street Seaport, and in a pop-up shop in the Meatpacking District – chances are the brand will opt for a new venue with stunning design. The Frank Gehry – designed Guggenheim is an obvious option, as is the Jean Nouvel–designed MoMA tower set to open in 2019. The teaser video Ghesquière posted features shots of the Brooklyn Bridge and several skyscrapers.

In coming stateside, Louis Vuitton joins Chanel and Versace, which will host pre-fall shows in New York this December, and Prada, which showed its resort 2019 collection in its midtown headquarters. As with past collections, Ghesquière will likely draw on local sources of inspiration – place your bets now on Milton Glaser graphics, AbEx references, or maybe a new status tote for the subway emblazoned in LVs.

Balenciaga Just Blew The CGI Model Debate Wide Open

The debate around the ethics of CGI models and influencers just got a little stickier. So far, brands, including Givenchy and Louis Vuitton, have experimented with the possibility of using pixelated It girls to show off their wares. Arguably, it’s been successful, and tech programming has started to show that humans and the VR community are no longer mutually exclusive – in any industry. But, the creators of our 3D counterparts have only really taken an idealistic approach to what society sees as beautiful. No high-profile labels have chosen to warp and distort us in the name of creative promotion. Until now.

Balenciaga enlisted digital artist Yilmaz Sen to create a trippy social video for its spring/summer 2019 collection, as a continuation of its Jon Rafman-designed show set, which was conceived to feel like the inside of a computer. In the Instagram clip, models stand in a nondescript part of Copenhagen’s meatpacking district and stare directly at the camera. With their dead eyes holding the viewer's attention, the Balenciaga-clad bodies start to move in a way that is impossible with the human anatomy. The word "eerie" doesn't even cut it. “I wanted to create something unpleasant for the viewer,” Sen told Vogue. “I had maybe a little sinful approach to that.”

Given complete creative control by Gvasalia, Sen spent one month shooting with Balenciaga collaborator Lotta Volkova and being "sinful" in post production. What's the takeaway? Without even a caption provided by the brand, it's open for interpretation. But if we thought the likes of Lil Miquela and Shudu were at the forefront of tech advancements, these avatars show we're only at the beginning.

Kering Takes A Stand Against Cyberbullying

Saint Laurent, Gucci, Balenciaga and Alexander McQueen are among the brands taking a stand against cyberbullying this month as part of the Kering Foundation’s White Ribbon for Women campaign.

This is the first time in its 10-year history that the international luxury group’s brands will be involved in fundraising efforts, donating 10 per cent of the retail price of selected products and lines across 1,300 stores from November 16 to 30. Philanthropic purchases include Balenciaga’s Puppy and Kitten bag, Bottega Veneta’s Ellittica tote, Saint Laurent’s logo hoodie and T-shirts and Gucci’s cat eye sunglasses and shoulder bags, among others from the likes of Brioni, Boucheron, Pomellato, DoDo and Alexander McQueen.

As is now tradition, the Kering Foundation has also designed a campaign to coincide with the International Day for the Elimination of Violence Against Women on November 25. This year they are targeting Gen Z, calling on them to “break the chain” of abusive comments made online and highlighting the very real effects of hate speech, including stress, trauma, anxiety and depression.

Research conducted by the United Nations Broadband Commission found that women are 27 times more likely to be bullied online than men.

“Everyone has the right to feel safe online,” says Kering CEO and chairman François-Henri Pinault. He and the foundation he started in 2008 believe that bystander intervention is essential in tackling the global pandemic of cyber violence, which includes hate speech, hacking, identity theft, stalking and threats. “Ignoring abuse allows perpetrators to continue in impunity and contributes to the mainstreaming of violence against women and girls,” reads the campaign manifesto.

“Kering once again demonstrates outstanding leadership by taking the lead with its campaign against cyberbullying, ” says Jonathan Newhouse, chairman and chief executive of Condé Nast International. “The effort to stamp out violence in all forms is more urgent and relevant than ever.”

Born from 1995 onwards, Generation Z has truly grown up in the age of the “social internet”, and though many social media networks have taken action to facilitate the reporting of hate speech, there is still so much work to do.

With #IDontSpeakHater and IDontSpeakHater.org, the foundation calls on everyone to speak out against abusive comments, countering insults and hate speech with wit and humour. The campaign will include a series of videos, featuring a team of international influencers including Edward Sad and Slim. Set against a neutral backdrop, they will react to real examples of cyberbullying, neutralising the abuse with positive, empowering responses in a rap battle-style.

Daniel Lee Lays Down The Framework For Bottega Veneta’s New Era

Very little was known about Daniel Lee when Kering announced in mid-June that the 32-year-old Brit was taking over as creative director at Bottega Veneta. Beyond Lee’s age and a handsome photo of him in a white T-shirt and jeans, the Kering press release stated his most recent position as director of ready-to-wear design at Celine and a string of posts at Maison Margiela, Balenciaga, and Donna Karan. Five months later, the industry knows not much more about him. Anomalously for a millennial, Lee doesn’t have an Instagram account and hasn’t been making the social rounds in Milan. By his own account, his closest friends aren’t in fashion. He’s focused on the work.

But it won’t be long now until his vision for Bottega Veneta starts to come into focus. Lee is presenting his much-anticipated pre-fall 2019 collection for women and men in Milan on December 11. Prior to that he has shared 10 portraits from the house’s spring 2019 offering exclusively with Vogue Runway; think of them as a sneak peek for next month. He didn’t design the collection – his start date precluded that – but he did “tweak” it. “My first instinct,” he says, “was to clean it all up and get back to what really felt essential.” That’s a rather good way to describe his approach to his first interview in his new role.

With his behind-the-scenes days more or less behind him, Lee discussed the place of logos and celebrity at the new Bottega (don’t expect much of either), his take on his predecessor’s tenure (he admires Tomas Maier), and his own Celine learnings (“to push things as far as you can”) with an easy, cheerful concision. When prompted about his personal influences and icons, he turned our discussion to the importance of his Bottega team: “Everything we do is done together.” The guy is humble, too. Though he describes Bottega as being about “a heightened aspirational reality,” Lee’s ambitions sound almost simple: “to just make some really great clothes, for people to live in and love and really enjoy.” The highlights of our conversation are below.

Let’s talk about the photos. Why have you decided to make this your introduction?

When I joined the company, obviously it was very far into the development of the [spring 2019] season. What felt like the right thing to do was to make a bit of a palate cleanser. The portraits came about while we were taking pictures for the lookbook. It felt like a good omen, like a signal to the world: to create a new grounding and jumping-off point.

What do you see, then, as your mandate at Bottega? When they hired you, what did François-Henri Pinault [Kering chairman and CEO] and Bottega CEO Claus-Dietrich Lahrs say they wanted?

For me, what’s extremely exciting about Bottega is the project was a complete carte blanche. Mr Pinault is very supportive; he really lets the creative rule, which I think is why he’s had so much success in recent years. He’s an inspiring person. What Bottega represents is an idea of true luxury that I really don’t feel is so much around right now. We speak about quality, a timeless elegance, an almost quiet confidence, which I think is the opposite to all the noise we see around us.

When your appointment was announced, your CEO said, “Daniel has a deep understanding of the house’s current challenges both in terms of creation and development.” What do you see as the challenges, and also the pleasures of working there?

Bottega was a bit of a sleeping giant. Tomas [Maier] led the house with a very strong vision in a very respectful way. He never faltered, he never deviated and went for a fat cat kind of approach. It’s amazing to me to be able to take on such a house with such a respected identity. Bottega has an amazing heritage in the leather goods area. We have an amazing facility; we have an amazing savoir faire. But also the ready-to-wear and the shoes and the jewellery are categories that are very exciting to me, and they never have been fully exploited. So it’s a really exciting moment to do that.

At the time of your appointment, reports mentioned Bottega’s efforts to maintain relevance, saying it wasn’t connecting with the shifting desires of millennials. Do you agree with those statements?

I just think the world changes very fast. Obviously I’m from a very different generation. I am a millennial. To me it’s not a foreign territory. I grew up with the Internet. I’m aware of social media; I like it in some respects, I don’t in others. It’s part of modern-day culture. Obviously, fashion is about change; it’s a kind of conversation about the world. Yeah, we have to keep up, for sure.

Everyone is very curious about you. Can you share a little about your personal aesthetic? How was it formed? Who are your influences and icons?

Bottega, the way I look at it, is very much about the project and the work. It’s not about me as a person. I think we really work very much as a team here. The biggest thing for me about fashion: It’s about people. So take that any way you’d like. It can be people in a movie, people in the street. It’s a collage of many different influences.

Talk about your work history, then. You spent five years at Celine; what would you say is the biggest thing you learned there?

The biggest thing I learned? To always push harder and try and make things as best you can. At Celine, we definitely pushed it as far as we could. You know, I’ve had some great mentorships. I’ve worked with some amazing creative directors in the past, and each one has taught me many things. But I think you have to stay true to yourself and work from the gut.

You went to Central Saint Martins. What made you want to go there as a young man?

Well, I’m from the north of England, which is lightyears away from where I’m sitting now. I’m from a very small town; the art and culture world really doesn’t exist [there], so when I first visited London I was so enthralled by all the noise and the excitement around me. Central Saint Martins was a completely new environment.

But you were into fashion from a young age?

I didn’t really know that much about fashion. There is no fashion where I’m from. What I like about this job is there are many different facets to it—part of it is creation, but it’s also business. It’s also often dealing in a foreign language; you meet people from all around the world, so there’s the travel aspect. There are so many great parts of this job; it’s not purely about designing.

You’ve been at Bottega since the summer, and you’ve had time to study the business. What would you say is missing, and what do you want to add?

For me, I want to add a big culture around the ready-to-wear. I really think that’s where it starts, in terms of building a vision and building a brand. That’s my main focus. Obviously the upcoming pre-collection and the [autumn/winter 2019] show is very much led around the ready-to-wear.

I’d like to hear what you think people will notice; the difference between Bottega a year ago and today.

The first pre-collection is very much about building an iconic wardrobe. For me right now, designing real clothes is more exciting than a fashion message. We really need to establish who our icons are and have a bit of an immediacy around the clothes. I really want to evoke a kind of youthful determination in the work. Like you were saying, I’m from a different generation and this idea of a global inclusive community is very relevant to millennials now.

Will this be the first time you’re doing menswear? Are you enjoying it?

The idea of this collection really has been about building a wardrobe, so it’s great to make things you want to wear. This is my first experience of doing that, because I’ve always worked in womenswear, and I think you definitely see it from a different perspective if you’re able to try things on and experience the clothes. It adds a different facet, for sure.

I’ve seen one picture of you so far, and you’re wearing a white T-shirt and jeans. Tell me about your personal style.

I’m wearing a white T-shirt and jeans now [laughs]. I’m quite casual. I love tailored clothes; that’s something I love to make, but I feel kind of uncomfortable being too formal. I’m definitely more comfortable in knitwear, jeans, and a T-shirt. And trainers.

So you’ll be adding denim and more trainers to the Bottega line-up?

More trainers, definitely, but I’m kind of bored with that, honestly. Talking about Italian style, when you look at films or these great people from the past, the Agnellis, there’s definitely a done-up elegance. It’s time for that to come back in fashion.

How has the adjustment to Milan been?

I still have my place in London, because I think it’s really important to get out and see the world. Milan is tiny, and it’s very insular. That said, it’s great for focus and for work.

One thing I remember from years ago at Bottega shows was the phrase at the back of the runway: “When your own initials are enough.” Now, of course, we’re living in a logo-obsessed time. Where do you stand?

That’s what is interesting about Bottega. We have a name and everyone knows it, but it’s not going to be about logoed product.

What about celebrity? Fashion is also in a celebrity-driven moment.

Bottega is a brand that talks about sophisticated elegance. It’s almost about being quiet. A silence in all the noise. A kind of stillness. For me, life is really all about living in the moment. I don’t have social media. I try and use my cell phone as little as possible. I definitely prefer human interaction. That’s very important to me and to the work I do. Design is also about living in the moment. It’s about working with whatever you have at hand and making the best of a situation. Celebrity? I think it’s a very different kind of world than what we’re in.

If you’re not working and you’re not on your phone and you do have free time, what do you like to do?

I play a lot of sports; I go to the gym. I spend time with my family. I’m very close with my family and friends, and none of them works in fashion. It’s a very different world. Also, I enjoy watching TV and relaxing at home. The days are intense.

Back to these pictures. Spring was designed before you arrived, is that right?

I tweaked things. What I did was edit, I’d say. We’re working on my first pre-collection, which will be out at the beginning of December, and I really wanted to swing into action on that. Obviously it’s a fashion business; we need product in the stores, so I edited [spring] to what I felt was essential. For me, it’s really important that the February show is the moment that we show to the world what Bottega is, and that the work really speaks for itself.

An Ode To Ezra Miller, A$AP Rocky And The Men Disregarding Clothing Labels

After a spring/summer 2019 season, which not only blurred the lines between womenswear and menswear, but forcefully tried to eradicate them, genderless fashion has never been such a positive proposition. And lately, a handful of gents have lined up to flex their creative muscles at wearing what is labelled womenswear - but should arguably have no label at all - to support what we’ve been witnessing on the runways.

Step up Ezra Miller, who you’ll now know better as Hedwig, owing to the snow-white plumage he wore to the London premiere of Fantastic Beasts: The Crimes of Grindelwald. It was Givenchy Haute Couture, no less. The actor, who had the fashion pack practically queuing to high five him after his previous turn in a jet-black Moncler x Pierpaolo Piccioli puffer coat, offset his feathers with charm. No literally. He penned “Avada Kedavra”, the deadly spell from Harry Potter, onto his palms for a witchy effect heightened by metallic hair and make-up accents. JK Rowling fans were beside themselves with delight and Twitter all of a frenzy as editors and Potterheads united over a red-carpet moment that would have looked perfectly at home on Cate Blanchett or Tilda Swinton.

Next, to the music industry, where the likes of A$AP Rocky and Travis Scott seem to have taken the womenswear baton from Kanye West and Pharrell to show just who wears the skirts now. If you missed A$AP’s granny moment in his floral silk Gucci scarf at LACMA’s annual art and film gala then, quite frankly, where have you been?

“I just wanted to show off my babushka today, honestly,” the A$AP member enthused of his accessory, which means grandma in Russian. “I'm just encouraging all guys to wear babushkas from here on out. Silk gang, silk city. You know how we do it.” A regram of a @siduations post later captioned with “BABUSHKA BOI” seemed to say it all. A$AP thought he looked “handsome” and boi, he did.

Travis Scott, meanwhile, dipped into the archives for a carefully curated Instagram moment this week. Wearing a foulard blouse from Céline’s spring/summer 2011 show, was the rapper making a Philophine brag? A nod to West, who wore the same shirt at Coachella circa 2011, perhaps? Whatever the messaging, the geometric print spoke volumes to #oldceline followers.

Of course, men have worn women’s clothing on countless occasions – from Freddie Mercury’s stage look created from a Zandra Rhodes wedding dress to David Beckham’s sarong, Jaden Smith’s skirted Louis Vuitton campaign, and every brilliant being in-between. And yes, it might seem trite to send out a public service broadcast every time a man disregards tags and wears *shocker!* what he actually likes. But until stores actually adapt and change their labels to reflect how society shops and dresses, then we have to salute the individuals who walk their own path. Babushkas unite.

The V&A Stages A Swinging ’60s Revival In Homage To Mary Quant

The countdown to Mary Quant is on. To mark ticket sales for the V&A's upcoming retrospective of the seminal Welsh designer and to raise awareness for its #WeWantQuant campaign – the call-out for archive Mary Quant pieces – the storied museum has staged a rather fabulous ’60s revival in London.

On November 15, 18 models – 10 of whom worked with Quant during her heyday – assembled in front of the V&A wearing original Quant clothing. The group, including Jill Kennington and Kari Ann Muller, boarded a London Routemaster inspired by the daisy-printed promotional bus Quant used for her cosmetics line, and took a trip down memory lane. Once back from the King’s Road, the home of Quant’s first store, a performance by ’60s Go-Go dance group The Meyer Dancers payed homage to the creative who liberated British women.

Why the literal song and dance? “In researching the exhibition, we developed a wide network of Mary Quant contacts,” co-curator of the exhibition Stephanie Wood tells Vogue. “These ’60s and ’70s models were particularly pleased to revive the spirit of the time with this fun and crazy event reflecting the atmosphere of Mary's shows.” The decision to pair Quant originals with contemporary models boiled down to the fact that “Mary's designs are as up-to-date now as they ever were”.

As well as the Daddy's Girl Peter Pan collar dresses, Miss Muffet and Banana Split styles worn by V&A’s Quant crew, the #WeWantQuant search has uncovered some rare examples of her work. “A very early and unlabelled blouse bought by a research scientist to meet her geologist fiancé returning from a trip in Antarctica" and "a PVC raincoat worn and lovingly kept by two generations of women in the same family” have been highlights, along with a “dress homemade from a Mary Quant dressmaking pattern for the wearer's 21st birthday.”

In fact, the response has been so overwhelming that the object list is now closed, and the curators are no longer on the hunt for lost Quant. “The call-out has transformed our exhibition,” Wood shares. “We have 35 garments from 30 individuals of the over 200 objects going on display.”

Opening its doors on April 6 2019, the exhibition will explore the years between 1955 and 1975, when the designer and fashion icon injected life into the high street through her subversive, graphic designs that freed women from rules and regulations. “Life was a whizz!" she wrote in her autobiography Quant by Quant. "It was such fun and unexpectedly wonderful despite, or perhaps because of, its intensity. We were so fortunate with our enormous luck and timing; we partied too – there were no real boundaries”. How fitting, then, that the V&A should stage its own celebration for her.

Mert And Marcus To Receive The BFC's Isabella Blow Award For Fashion Creator

There are few people who have had the same visual impact within contemporary fashion as Mert and Marcus: two photographers who have, throughout their 25-year-career, acted as creative pioneers and opened up the realms of fantasy afforded by digital manipulation. “They came into the industry after we’d been through a period of grunge, and experienced a certain rawness, but they offered something entirely different: an idea of artifice and glamour that introduced a new aesthetic to fashion,” explains Edward Enninful. “Plus, there’s always something uneasy about their vision. A Mert and Marcus picture is never just about what you see at first: their girl might be beautiful, but she’ll have talons for nails. There’s something unsettling about that beauty.”

That glossy sense of subversion has, over the course of their career, been applied to everyone from Madonna to Oprah; Kate Moss to Rihanna – and now, in celebration of their achievements, they are being honoured with The Isabella Blow Award for Fashion Creator at The British Fashion Council’s annual Fashion Awards. Held on December the 10th, they duo will join a pantheon that includes the likes of Enninful, Pat McGrath and Louise Wilson. “It’s a great honour to be given this award – particularly because of the name attached to it: someone who’s very important in our creative life,” explains Mert. “But also it’s very important to be recognised by the establishment; by all the people who comprise the British Fashion Council.”

What is uniquely exciting about Mert and Marcus’ work is not only their technical understanding of how to create and augment an image (although seeing them navigate Photoshop is mesmerising) but, of course, the creative freedom that such techniques afford. “We’ve never been journalists, we’ve never been documentary photographers: we’ve always come with a concept that we have crafted using our tools,” Mert continues. “We never saw digital manipulation as simply making a girl’s waist thinner or taking her freckles out; it’s about making whatever is in a photograph fit with the idea that we have in our minds. We’ve never cared whether it takes one click, or ten different tools, so long as we got what we wanted. I always see it like this: I love the sound of a gramophone; it sounds so beautiful to hear those nostalgic sounds. But would I listen to it every day; would I listen to Beyonce on a gramophone? I don’t think I would.”

Equally, explains Marcus, working in tandem with each other offers an amalgamation of two different perspectives, as well as capturing the behind-the-scenes frisson (“we fight!” laughs Mert) of creative collaboration. “Behind every photograph is a story: the trips that we’ve shared, the moments that we’ve had with people and the muses who are fearless in front of the camera. The bond, and the trust, that we share is in everything we do.”

The resulting impact, of women seen through a lens of transformative glamour and powerful provocation, is one that has earned them global renown (and their mononymous moniker). “Mert and Marcus have a unique way of portraying glamour, youth and fantasy, making them one of the forces of our industry,” explains BFC Chief Executive Caroline Rush. “[Their] unique blend of vision, energy and innovation has created some of the most iconic images of our time,” continues Nadja Swarovski, whose brand is one of The Fashion Awards’ principal partners. “It is our great pleasure to recognise [their] inspirational creativity.” December 10th is set to be an evening of well-deserved celebration – and you can rest assured that whoever is presenting their award will be suitably fabulous.

Will The Victoria’s Secret CEO's Resignation Provoke Brand Change?

One week after its annual catwalk extravaganza, Victoria’s SecretCEO Jan Singer has resigned from her role at the lingerie giant. The news comes after CMO of L Brands, Victoria Secret's parent company, Ed Razek came under fire for claiming that the brand had “no interest” in featuring plus-size models or trans models on its runway.

The company’s failure to connect with and cater to the 800 million viewers across the 190 countries that tune into the show is mirrored in dwindling Victoria’s Secret sales reports. In the last two years, quarterly same-store sales have risen only once, according to The Wall Street Journal.

Singer, who has been at the company for close to two years, joined from Spanx, where she served as CEO for two years. Prior to that, she spent more than a decade as an executive at Nike Inc. During her time at Victoria’s Secret, she launched bra styles focusing on comfort and fit, and hired Jann Parish, formerly of Calvin Klein, as CMO in order to revitalise the brand’s marketing. Parish left the company prior to the 2018 fashion show having been in the position less than a year.

Though neither Singer nor Parish has chosen to comment, their departures would suggest that L Brands is unwilling to evolve from the dated messaging that it is wedded to – despite advice from the executives it hired to develop the brand. Razek’s lacklustre apology – he later said that he “absolutely would cast a transgender model” – is further proof how out of touch Victoria's Secret is. Its reluctance to hang up its diamanté-rhinestone-gem-you-name-it-embellished wings – despite competitors like Savage x Fenty and Aerie poaching customers – however, is where its real fault lies.

Will Singer's power move serve as a wake-up call? Let's hope Victoria's Secret has called a crisis meeting instead of one planning its 2019 catwalk show.

Christopher Kane On How To Give Your Christmas Tree Personality

If there’s one London Fashion Week designer who is ready and raring for Christmas, it’s Christopher Kane. The Scotsman has transformed the façade and terrace of his Mount Street neighbour Scott’s with a graphic installation of transparent tubes coloured with chintzy Yuletide hues and his signature neons. And the tree! Sprouting from a nest of blue lights and with an angular luminous construction in place of a fairy, the fir provides a fabulous centrepiece for the London institution.

“I couldn’t say no when they approached me,” Kane tells Vogue. “We didn’t shy away from shine and sparkle; we embraced it.” His favourite part of decking Scott’s halls? The “neons in the light-up icicles that hover above your head as you dine on the terrace. The full effect really comes alive when it gets dark.”

So, what does Christmas look like in the Kane household? “I have my niece Bonnie on decorations,” he enthuses. “Colourful, loud and mixed with traditional tartans and metallics.” This year, the Kanes will kick off the holiday season with a trip to the ice-skating rink at Somerset House, followed by Fortnum & Mason for a bauble pitstop and on to Claridges for the seasonal iteration of its signature afternoon tea. The day itself will be spent at Gleneagles. “I’m excited to go back as I haven’t had a traditional Scottish Christmas in years – fingers crossed we don’t get snowed in,” he adds.

With regards to dispensing tree decoration advice, Kane’s tips are simple. Number one: don’t hold back. “I love full-on trees, loaded with personality.” Number two: make it personal. “Christmas is about remembering the past, so little details like old decorations or those created with children make you appreciate the present.” And number three: make a day of it. “Have a Christmas playlist prepared.”

Kane’s all-time favourite tune is “Christmas (Baby Please Come Home)” by Darlene Love – best enjoyed with his personal Scott’s whiskey cocktail, More Joy, or a glass of champagne. “Pink Ruinart is my fave,” he shares. Glad tidings indeed.

Lily-Rose Depp Takes Chanel’s Bike Shorts For A Spin

As a second-generation Chanelbrand ambassador, Lily-Rose Deppregularly steps out wearing Karl Lagerfeld’s latest. But don’t be fooled: the actress is more than just a winsome clothes hanger. Often tasked with wearing the French house’s most daring wares, Depp pulls off clothes others wouldn’t dare, and her most recent outfit tackles one of the most talked-about trends from the Spring 2019 collections.

In London this week for the launch of the special red edition of Chanel No. 5 fragrance, Depp headed to Annabel’s, the exclusive members-only club in Mayfair, in a black jumpsuit with double-c chain detailing on the straps, an oversized Chanel logo on the waist, and cropped leggings in the style of ‘90s cycling shorts.

While there have been some early adopters of the look — Bella Hadid and Hailey Baldwin, we’re looking at you! — few have been able to elevate the idea quite like Depp. In head-to-toe black, spiked heels, and a kitschy perfume bottle clutch, Depp looked the part of glamorous host.

She left the club in a glittering overcoat covered in sequins that was pure Chanel and the overall effect called to mind the first time Lagerfeld sent bike shorts down his runway back in 1991 with models like Linda Evangelistaand Emma Sjöberg in remixed little tweed jackets and oversized accessories. As always, Depp made her Chanel moment look beyond easy. Who else could wear an outfit that could carry from the party to next morning’s SoulCycle session with this much swagger?

Elton John Steps Into Christmas 2018 In The John Lewis Advert

Trampolining animals, snowmen in love, a lonely man on the moon, and a sleepy bear and his punctual hare friend have all been the subjects of John Lewis's famously tear-jerking festive campaigns in recent years. So, who could be the star of this year's offering? Unveiled today, the high-street stalwart sees Elton John step into Christmas 2018, in an advert titled The Boy & The Piano.

Moving between scenes from the musician's life (portrayed by John himself and actors playing him at different ages), all based on true events, it is soundtracked by his classic hit "Your Song" and tells the story of "how one gift in particular inspired and influenced the course of a little boy’s life." The boy in question is, of course, a young John, and the gift is a piano from his mother and grandmother. The tag line at the end reads, "Some gifts are more than just a gift".

"The John Lewis Christmas campaign has so many warm memories for me and my family," says John of starring in the campaign. "It's been a lovely opportunity for me to reflect on my life in music and the incredible journey I have been on, and how first playing my grandmother's piano marks the moment when music came into my life. The ad is absolutely fantastic and I've truly loved every minute of being a part of it.”

The brand's Christmas campaign has come to coincide in recent years with complementary in-store experiences and merchandise. This year, it is more experiential than ever, with John Lewis's flagship Oxford Street store inviting customers into the scenes from the advert - from the dressing room, where you can try on costumes and use props from the set, to the recording studio and living room, where you can play the piano. There will also be a light show, accompanied by John’s “Step Into Christmas”, projected daily from the shop’s Oxford Street windows. 14 other stores across the UK will have pianos for shoppers to enjoy a musical interlude too, and vintage-style Elton John T-shirts will be available to buy in store and online.

“Think back to all of the Christmases that you have enjoyed over the years - I’m sure there is one very special gift that stands out above all others," Craig Inglis, Partner and Customer Director, John Lewis & Partners says. "That’s the magical feeling we wanted to bring to life this year."

You Can Now Customise Gucci Knitwear, Outerwear And Tailoring

Gucci fans have previously been able to customise the Ophidia tote bag and Ace sneakers, but now they will be able to play Alessandro Michele and add their own creative touches to the brand’s knitwear, outerwear and tailoring.

Wool crew-neck knits, shawl-collar bombers and cardigans in green, blue, red and white are all available for DIY treatment via Gucci.com and selected Gucci stores. Fancy having your initial intarsia-knitted onto your jumper? Or perhaps decorative patches stitched onto the elbows? It’s all possible in the land of interlocking GGs.

To fete the launch of these fabulous knits, Gucci has enlisted six artists to reimagine the jumpers and cardies for a series of artworks to be shared on the label’s social media accounts and website. And if these illustrations don’t ignite a creative spark, you can use the in-store app, which incorporates augmented reality to show customers how their customisation efforts will transform a product.

Other made-to-order pieces available for DIY treatment include biker and bomber leather jackets with metal studs, rhinestones and hand-painted flowers adorning them. In the tailoring category, meanwhile, a wool-mohair jacket can have a letter with flora hand-embroidered onto the breast pocket; and a tweed jacket with blue and red grosgrain trim and gold tiger buttons can feature a pocket patch comprising two small letters and a pearl bow.

As artists Amber Vittoria, Angela Deane, Ashley Longshore, Brianda Stuart, Marc Burkhardt and Vogue's Ask Eva column illustrator Isabella Cotier show, the Guccification possibilities are endless. The one common theme between artworks? More is more.

This Is Where the Kardashian-Jenner Clan Has Been Buying Their Vintage Gucci And Dior

If the last year has proven anything, it’s that the Kardashian-Jennersisters have a healthy appetite for vintage fashion, particularly the kind that comes with a logo. Kim repopularised the throwback logo bikini, and Kourtney and Kylie have decked themselves out in head-to-toe monogrammed Fendi. And let’s also not forget KKW’s Tom Ford for Gucci G-string. But where does it all come from? In October, Kim Kardashian West posted a photo on Instagram Stories featuring two pairs of vintage Dior sunglasses and a white Dior logo baby puffer coat, with a caption that read: “OMG my fave vintage spot @reinvintagecollection.” Never heard of it? We hadn’t either. But a little sleuthing revealed this: Rein is the brainchild of Zena Bryant, a native of the south side of Chicago who is fairly new to the resale and fame games.

Though her entire life is now dedicated to sourcing covetable monogram fashion, the 31-year-old Bryant wasn’t always in love with vintage. “I remember my mum dragging me to the thrift store when I was little and I hated it. The smell and the thought of wearing other people’s clothes was baffling to me,” Bryant says. “The more we went though, I became amazed at the pieces my mum would find. I started searching and getting such a rush from the treasure hunt. My first vintage item was an MCM bag. The feeling I got when I found it is the same feeling that I get and I chase to this day.” Once Bryant began to cultivate her passion, she eventually started collecting at various shops around Chicago. Now, stores and independent dealers in New York and Los Angeles are on her circuit. She opened a brick-and-mortar shop in her neighbourhood a few years back but quickly discovered that Instagram was a far more profitable and visible place for her business.

Beyond the Kardashian-Jenner girls (she just sent Khloe a Dior onesie for True), Bryant has also recently worked closely with Cardi B, Quavo, Teyana Taylor and Demi Lovato, all of whom came to her after one chance virtual encounter. “Law Roach, who styles Céline Dion and Zendaya, reached out to me via Instagram in 2016,” Bryant explains. “After that I met stylist Krystle Kastlez, who has worked with Pharrell and Selena Gomez. She purchased a Valentino slip dress from me and we’ve become very close friends.” Another close friend is KNC Beauty founder Kristen Crawley. “She was the one who introduced me to Kim and her family,” Bryant says. “Kristen wore a Fendi piece from Rein on vacation with the Kardashians and they loved it and wanted to know where to buy.”

The majority of Bryant’s business comes from these kinds of insider referrals. Celebrity stylists frequent her account because it’s a one-stop shop for the most popular designer vintage at the moment, whether it’s a Prada nylon fanny pack, Dior logo sunglasses, a Fendi baguette, or a monogram bikini. “This all happened overnight,” Bryant says of her social media success. “It’s a hard business and when I had the shop I thought about giving up, but now it’s booming. Seeing the looks on my customer’s faces when they wear something from Rein, as well as seeing how they style it, is priceless.”

Ralph Lauren Receives Knighthood For Services To Fashion

Ralph Lauren is the first American fashion designer to be recognised with an honorary British knighthood. The insignia will be presented to the creative, businessman and philanthropist by a representative of the Queen during a ceremony next year.

"Mr Lauren has played a key role in forging transatlantic cultural and economic connections," said Antony Phillipson, British Consul General to New York and Her Majesty’s Trade Commissioner for North America. "As creator and visionary of the Ralph Lauren brand worldwide, he has been a vanguard for the global fashion industry and American style for nearly half a century. In addition, monumental philanthropic efforts, especially in the realm of public health, cancer research and treatment in both the US and the UK, have led to benefits felt by citizens around the world.”

The news falls in line with his brand’s 50th birthday year. In June, the Council of Fashion Designers of America recognised Lauren’s global effect on fashion and his leadership in the industry with a CFDA Members Salute.

The accolade bestowed on behalf of the 500-plus CFDA members was the first of its kind, and a special way to celebrate the man who was honoured with the CFDA Lifetime Achievement Award in 1991 and the CFDA American Fashion Legend Award in 2007.

“From starting with a tie at Bloomingdale’s to building a global brand, I respect and admire everything that Ralph Lauren stands for, including his philanthropy and kindness,” CFDA chairwoman Diane von Furstenberg said at the time. The sentiment was echoed by by Oprah Winfrey, who made a speech at his 50th anniversary show staged at Central Park's Bethesda Terrance Tunnel in September. “What I know for sure is what is real is what lasts. And we are here because you have lasted,” the media icon addressed Lauren’s supporters.

The man himself, meanwhile, took a modest reflection of his five decades in the business. “I’ve been very lucky. I like working. I like to dream. I don’t dream this big,” he waved at the numerous dining tables lined up around the Bethesda Fountain, “but it makes me look very big tonight.”

But of course, Lauren’s new status puts him in good company. Other notable American recipients of UK knighthoods or damehoods include former Presidents Dwight D Eisenhower, Ronald Reagan and George HW Bush, former New York City Mayors Michael Bloomberg and Rudolph Giuliani, Angelina Jolie, Steven Spielberg, Bill and Melinda Gates, and Angela Ahrendts.

Party On In A Covetable New Line Of Sustainable Eveningwear

On the list of requirements for the perfect party dress – ritzy, but not OTT; elegant, but not overtly safe; shiny, but not flammably so – it’s fair to assume “sustainable fabric” and “ethical production process” don’t come at the very top of the list.

Of course, no one wants the planet or its people to suffer for the sake of fashion. But while we may lose sleep over the dyes in our denim and the microfibres escaping into the water supply every time we wash our favourite yoga leggings, all thoughts of carefully checking material composition and only buying something when we really, really love it seem to disappear in a puff of delight once a party invitation drops into the inbox.

By its very nature, eveningwear is hardly a sustainable category, even if it’s rendered in organic silk. Most of the evening dresses in your wardrobe will likely have been purchased for a one-wear-only special event. Party looks deserve to be replayed, like your favourite dancefloor anthem, as one Vogueeditor has opined. But, often, they’re still hanging in their dry-cleaning wrappers once party season rolls round again.

That’s set to change thanks to Amy Powney, one of the most clued up designers on the subject of sustainable fashion that has ever set foot in Vogue House. The creative director of Mother of Pearl has been on a mission to convert her brand into one that’s able to call itself ethical and sustainable – and, unlike the numerous labels who have recently jumped on the eco bandwagon, actually mean it.

Cognisant of the environmental and social impact of fashion, Powney spent two-and-a-half years tracing supply chains, crunching air miles, auditing factories and agonising over packaging to create No Frills, her fully sustainable fashion collection, which launched in September. Earlier this year she launched sustainable wedding dresses. Now, she is venturing into eveningwear.

The highlight is a black off-the-shoulder dress (recently debuted by Gabriella Wilde) in heavy jacquard, which boasts organic cotton and mulesing-free wool (mulesing is a cruel process that removes skin from the breech of a young sheep without anaesthetic) from Uruguay. This jostles for attention with digitally-printed floral dresses rendered in peace silk (a cruelty-free alternative to silk whereby the silkworm emerges unharmed from its cocoon) and also featuring a bamboo lining (which has a low environmental impact). Mini dresses with puffball sleeves are crafted in viscose derived from sustainable forestry, with a new tree planted every time a mature tree is cut down.

It hasn’t been easy. “It’s definitely harder to source sustainable fabrics for eveningwear. Organic cotton and denim are fairly developed industries but the more luxurious, fancy end of fashion hasn’t evolved at all,” says Powney. “Peace silk, for instance, is incredibly expensive – we have sourced ours from India and digitally printed it in the UK, which is much more sustainable than other methods of printing – and it’s been complicated to get the product looking great without impacting the price point as well as not cutting corners.”

Powney admits there are improvements to be made. Often the sustainability credentials of a particular fabric have to be offset by another factor. Take viscose. “Viscose has two major issues. First, it’s a cellulose fabric which means it comes from wood pulp, and deforestation is a huge issue. Sustainable forestry is imperative and is what we have sought out,” she admits. “The second is the chemical process used in its creation. We are moving more and more into using Tencel as the process involved in its creation is much less aggressive – so we will be launching Tencel pieces in March.”

Her proudest accomplishment is the jacquard fabric used to make the Emmie dress, one of her favourites in the line-up. “I personally traced this fabric’s journey, from the mulesing-free sheep farms run by Pedro in Uruguay, who I visited, to the spinners and developed the design with the weavers in Austria,” she says. “It was so complex trying to create a luxurious jacquard in a sustainable way so this fabric feels like a huge achievement.” She pauses. “The cotton is GOTS certified from Egypt.” This is a woman who knows her stuff. But the kudos lies in the fact that these dresses are seriously desirable, too.

Mother of Pearl's sustainable eveningwear collection launches on November 14 2018 at Motherofpearl.co.uk.

Of Course Molly Goddard Has A Fabulous Party Capsule Up Her Frilly Sleeve

She of tulle and ruffle fame, Molly Goddard, has designed an exclusive line of party pieces for Browns – and they are just as voluminous and whimsical as you’d hope for.

The London Fashion Week designer has had a special place at Browns ever since she appeared in a puff of pink in 2014. “There are very few pieces out there that can claim to be as versatile as Molly’s,” Ida Petersson, Browns womenswear buying director, tells Vogue of how the love affair began. “You can dress them up with a slip dress or wear them to the pub over jeans. Her pieces are a great investment for someone looking for a statement option that also can be styled in a more casual way – in short, you get a lot of bang for your buck!”

The team commissioned Goddard to create the festive capsule as “a perfect little hit to tide Molly lovers over until the main collection drops”, Petersson continues. “We wanted to give our customers a new updated version of the pieces that we know they already like and collect in every colourway. These are a mix of archive and existing silhouettes that appeal far beyond one season.”

Indeed, the pink Claudia dress with black velvet straps, the Rebecca dress in black and pink and the black Pluto coat are all reminiscent of hand-sewn Molly Goddard silhouettes of yore, but have enough sugar-sweet pizzazz to convince customers to proceed to purchase.

“I was really excited to revisit some of my favourite styles and to reinvent them in bold new colours,” Goddard chimes in. “I would wear the taffeta coat as a dress with just a slip underneath and the tulle dresses with jeans for the ultimate relaxed party outfit.”

You heard it first hand – Molly’s gang are dressing down their tulle for December. Shop the collection from November 14th at Brownsfashion.com.

Aquazzura Enlists 5 Jewellery Designers For The Ultimate Party Shoe Capsule

Net-a-porter.com is always on the hunt for shiny new collaborations that will cut through the e-tail landscape. Its latest offering is nothing short of blockbuster. Aquazzura, the mighty party shoe provider, has enlisted five fine jewellery designers to give its footwear a seasonal makeover with real pizzazz.

First things first, how did founder Edgardo Osorio become acquainted with Anissa Kermiche, Sabine Getty, Noor Fares, Eugenie Niarchos and Ana Khouri? “Each woman is not only a designer I admire, but a friend and a woman whose style I love,” he explains. “Connecting the worlds of jewellery and footwear was a fascinating journey and each shoe is as unique as the women.”

Of course, the intuitive Net-a-porter.com shopper also drove the collaboration. “These days, there is so much to choose from, so the more original product you can offer your customers, the stronger their loyalty will be,” Net-a-porter.com global buying director Elizabeth von der Goltz tells Vogue. “It’s Net-a-porter.com’s key point of difference; we’ve always been called a fashion leader, and in order to keep leading we need to offer our customers interesting and new collaborations, capsules and products that they can’t find anywhere else.”

For Anissa Kermiche, "designing shoes was a dream I hadn't explored yet". The Paris-born jeweller, who launched her eponymous brand in 2016, worked closely with Osorio to turn her signature "Rondeur Triple" earrings into a heel. "The shoe follows the curvy lines of my jewellery aesthetics," she adds of her geometric creation.

Ana Khouri also incorporated her "Mirian" bracelet into her shoe, but took a more holistic approach to partywear. “As a jewellery designer, you must find a way to accentuate the natural elegance of what are arguably the most beautiful materials found on earth," she shared. "The work should have an eternal quality... I want it to be ethereal. This was always on my mind when designing the Mirian bracelet, and I felt there was no better piece that translated into a shoe to impart such feeling."

Eugenie Niarchos, meanwhile, mused over what she would like to wear over the festive period. “I love to mix and match gold and silver, so my shoe combines these two metallic shades," she said. "And the star detail is a sign of good luck for happy bejewelled party feet."

Happy feet indeed. Browse the collection, which is priced from £670 to £975, below and make your wishlist to shop come November 23rd.

Self-Portrait Backs Fashion Students With Central Saint Martins Scholarship Programme

Han Chong, the brain behind the delectable and affordable occasionwear brand Self-Portrait, is giving back to the school he studied at with a five-year Central Saint Martins’ scholarship programme. Launching in November 2019, the brand will supply financial aid to five students on the MA fashion course – one each year until 2023.

Students on Chong’s scholarship programme will also receive mentorship from the CSM alumnus and the stakeholders within his company. “I’ve been through a lot [and made] mistakes… it’s a tough industry and often you only have a few chances,” Chong told Business of Fashion. “I want to set up a hub where we get talent from across the industry, so that when people have questions we can be there for them.”

Central Saint Martins’ MA fashion course director Fabio Piras said that Chong was well placed to advise students. Since founding Self-Portrait in 2013, his brand has become a household name owing to its growing list of high-profile fans, including the Duchess of Sussex, Beyoncé and Michelle Obama. “[Students] need to understand that [their] career needs to be much more agile than it used to be,” Piras said of Chong’s ability to drive growth while maintaining his clear brand identity and vision.

“You have to create a handwriting that is distinctly your own that customers will connect with your brand,” Chong told Vogue upon opening his first London store in March 2018. “Also, in my case I really made sure to always think of our customers first. Making sure that they feel the love in the work that I do."

Chong joins Donatella Versace, Stella McCartney and Mick Jagger, in memory of his late partner L'Wren Scott, who have previously launched CSM scholarships. In a climate where arts education cuts are a huge concern, and the number of students studying the arts is falling because prospective students don’t realise the creative career avenues on offer, the Self-Portrait scholarship couldn't be more valuable.

Stella McCartney Launches Bridalwear

After the Duchess of Sussex’s second wedding dress – that high-neck, low-backed, floor-sweeping Stella McCartney gown – broke the internet, who could blame the designer for branching out into bridalwear? Reader, that time has come.

Available to order now, the 17-piece “Made With Love” collection builds on the brand’s eveningwear offering and the capsule of 23 lily-white and 23 onyx-black recreations of the Duchess’s wedding dress, which launched in June 2018 to celebrate the opening of McCartney’s 23 Old Bond Street flagship.

Seven dresses, a lace embroidered jumpsuit (available in pure white and rich scarlet) and an ivory tuxedo are highlights, but noteworthy is the fact that each piece is underlined with McCartney’s commitment to sustainable fashion. Just like viscose, she has proved that there are modern versions of couture fabrics, like lace and chiffon, that are just as luxurious as their environmentally damaging counterparts.

The Duchess’s evening gown, which was commissioned for her wedding reception at Frogmore House, was not McCartney’s first foray into bridalwear. “Having been a bride myself and honoured to make wedding gowns for some of my dear friends, it’s something that I feel very passionately about,” McCartney tells Vogue. “I really do see it as one of the biggest privileges as a female designer to know that women come into our stores and buy pieces to wear for the most important day of their lives. I think that the house of Stella McCartney represents something a little more effortless, and that’s incredibly reflective of the bride and her personality and what she wants to wear even outside of that important day.”

Each piece has this thoughtfulness stitched into the seams via a blue tag featuring a personal message from McCartney. “There’s something blue and there’s something new,” she explains. “When thinking about the name of the collection, I wanted to give it a name that just felt more personal and more loving and really reflects the feeling and the experience of that special day.”

As for the Duchess’s dress, she says, “It has truly been one of the most humbling moments of my career. I've made a lot of wedding dresses for a lot of high-profile people – none as high-profile as that obviously – but I've always felt very protective over that moment and to be entrusted means a lot to me.”

The 17-piece Stella McCartney "Made with Love" bridal collection is available exclusively in select Stella McCartney stores globally as well as at select retail partners including Harrods, Net-a-porter.com, Selfridges, Saks Fifth Avenue and Nordstrom now. Prices start at £675.

Burberry's Festive Campaign Celebrates The Eccentricity Of A British Christmas

Kristin Scott Thomas, Matt Smith, M.I.A, Naomi Campbell and her mother Valerie Morris-Campbell were unveiled as Burberry’s all-star Christmas cast on November 1. Now, the campaign video and accompanying imagery have been released in their merry entirety.

In contrast to the festive campaigns under Christopher Bailey, which were as warm-and-fuzzy as they come thanks to a line-up of British favourites including Julie Walters, Riccardo Tisci’s holiday outlook is less saccharine, more eccentric.

Shot by British artist Juno Calypso, Close Your Eyes and Think of Christmascelebrates seasonal traditions and rituals, but depicted at their most extreme. The unpredictable British weather is shown as a snow scene on a television in a café frequented by M.I.A and Smith, before the viewer is taken full throttle into a train carriage – complete with seats upholstered in the new Peter Saville-imagined house logo print – where Scott Thomas plays the Burberry-clad commuter on a delayed train. A family feast, where Campbell and Morris-Campbell model looks from the upcoming Vivienne Westwood collaboration, concludes the sequence of scenes with a subverted glimpse into Tisci's universe through Calypso's fantastical lens.

"I had a lovely time on set," Smith commented. "I got to hang out with Kristin Scott Thomas who is just a total dream. It was a pleasure also to meet M.I.A and to be back on set for Burberry. Everything was very stylish, very inventive. It felt a bit like a strange, fashionable Christmas last supper."

"I’m actually quite entertained by the fact that I am in a Christmas campaign," M.I.A chimed in. "I never really thought that M.I.A was Christmassy. But I do like red and green – those are my favourite colours!" Scott Thomas added: "It is an experience I will remember for a long time – it’s not every day you shoot a Christmas scene in a heatwave!"

Morris-Campbell, meanwhile, shed light on the mother-daughter experience: "It’s been nearly four years since Naomi and I last worked on a shoot together, so this was a really special moment for me." Of course, the feeling was mutual. "Working with [my mother] brought back so many memories of the holidays and traditions I had growing up – so that felt extremely special," Campbell concurred.