An Ultra-Rare Version Of Carrie Bradshaw’s Newspaper-Print Dress Will Go On Sale For The First Time In 23 Years

While many of us are familiar with the Dior newspaper-print dress famously worn by Carrie Bradshaw in Sex and The City (and most recently seen on Emily Ratajkowski), you may not have come across the longer version of the dress from John Galliano’s autumn/winter 2000 collection.

“The Carrie dress has popped up a few times, but I’ve never seen the gown version sell online,” Christelle McCracken, founder of My Runway Archive, tells Vogue. “It’s not been seen on anyone; the only photos you see are the dress on the runway. It’s very, very rare in that respect.”

Now, My Runway Archive, in collaboration with Netherland-based vintage store Herpium, is set to bring the Galliano newspaper-print gown to sale – with the experts believing this is the first time it’s been available to purchase since it was first released 23 years ago. McCracken came across the piece after a collector got in touch with her, having seen the Dior monogram trench coat that Cardi B wore – which was sourced from My Runway Archive – back in 2022.

“He was trying to identify the monogram coat, and found my page,” McCraken explains. “He got in touch with me and sent me 30 different [Dior] pieces via email – he’s held onto them for 15 years. I was lucky that he came to me because I previously sold something that he had to sell. He wanted to make sure that the Dior pieces went to the right person with the right knowledge.”

Other stand-out picks set to go on sale include several Dior pieces worn by Samantha in Sex And The City (who will now be returning to the small screen in the latest series of And Just Like That), from her Dior champion belt and gold dress in season five (worn during the infamous “Dirty martini? Dirty bastard!” scene) to her Swarovski-encrusted J’Adore Dior bandana in season six. The newspaper-print jeans from autumn/winter 2000, as well as two looks from autumn/winter 1998 – including the all-pink ensemble worn by Kate Moss in the ad campaign – will also be part of the 30-piece drop.

With the vintage community already abuzz about My Runway Archive and Herpium’s one-of-a-kind sale, mark your calendars for the first week of July for your chance to get hold of an ultra-rare piece of fashion history. You’ll need the bank balance to match, though. Asked how much she expects the newspaper-print gown to sell for, McCraken replies: “The only thing we have to go against is the newspaper dress on sale on 1stDibs – it’s £200,000.”

“I Love The Drama!” Model Ikram Abdi Omar Brought Harris Reed’s Nina Ricci To Cannes

Ikram Abdi Omar reveals she became good friends with designer Harris Reed after she walked in his spring/summer 2023 show, held in September last year. “I always feel so comfortable and authentic working with Harris and his team,” says the model, who wore a dramatic look from Reed’s debut collection for Nina Ricci on the closing night of Cannes Film Festival over the weekend.

After an initial fitting in London, Ikram and her stylist Siân Gabari shortlisted three looks to take to the French Riviera, and ultimately the model opted for a striking striped gown and matching hat (look 36) to wear on the Croisette.

“We really wanted to wear designers we have a relationship with, especially for the carpet,” says the model, who admits the look wasn’t initially her first choice, but Siân brought it to Cannes regardless. “When I tried it all together as a whole look, with the rosette – we just knew,” she says now. “I loved it, and couldn’t wait for the closing ceremony.” (She also wore a look from the designer’s eponymous autumn/winter 2023 collection for another appearance at the festival.)

“I already felt like Vogue’s best-dressed!,” she continues. “Before even stepping out, I felt like I was wearing a masterpiece. I don’t think one person walked past me without telling me how beautiful it was. I really felt spectacular.”

As for her favourite aspect of Harris’s work as a whole? “The drama and theatrics! I also love how so much of his collection is modest, it’s the perfect balance,” she muses. Here, Vogue gets ready with the model for her major moment in the South of France.

5 Things To Know About Alberta Ferretti’s Fellini-Infused Resort 2024 Show In Rimini

Following devastating flooding in Emilia-Romagna, Alberta Ferretti used her Resort 2024 presentation to pay tribute to the region that shaped her. Anders Christian Madsen reports from the front row in Rimini.

The show took place in Rimini following floods in the region

When the rivers of Emilia-Romagna overran this month causing devastating floods in the region, Alberta Ferretti’s first major resort show took on new importance. “We planned it before the floods. But we decided to go through with it because all the politicians of the area came to us and said, ‘It’s important to do this now,’” the designer explained. She had initially wanted to present a show in Rimini to give back to the place she comes from. Instead, her large-scale production – staged in front of the 15th-century Castel Sismondo in the city centre – emerged in a light of community and resilience. For the finale, Ferretti took her bow with a group of the volunteers who have provided relief for the thousands of people affected by the floods. They wore T-shirts to be sold in aid of local charities bearing the words Io si sono: “I am here.”

The show was a gift to Ferretti’s community

“It’s interesting to involve the people who work for me in an event,” Ferretti said before the show, referring to the Aeffe conglomerate she founded in 1972. Based in Cattolica two towns over from Rimini, it comprises her eponymous brand as well as Moschino, Pollini and Philosophy – whose creative director Lorenzo Serafini attended the show – and has made Ferretti “queen of the region”, as one local put it. Through her success, she consistently gives back to her native area, injecting money into businesses, tourism and the preservation of its history. “Normally we show in Milan or New York, and the people who work for Aeffe don’t get to see anything. It’s important they get to be involved, to see the passion that goes into a big show,” Ferretti said, gesturing at the runway she had erected in front of Castel Sismondo.

It was infused with the spirit of Fellini

Before the show, guests from near and far – who had descended upon the grand hotels of the Riviera Romagnola and the medieval hilltop palazzo of the fortified burg of the nearby Montegridolfo – were treated to a tour of the Museo Fellini housed inside the Castel Sismondo. As Rimini’s proudest son, the spirit of the director had to underpin Ferretti’s first show on the stomping grounds that founded her career. “I dedicate it to the city of Fellini because Fellini was a dreamer. And, although not in the same way, so am I. Fellini was a different epoch. Now, people speak a different language. I live in the same place he lived, but as a modern woman, I travel a lot. It’s important to my job to see which way the world goes. I want to work for the women who travel and live,” she said, noting how clients from around the world had flown to Rimini for the show.

It was signature Ferretti with cinematic pizzazz

Illuminated entirely by projections of Fellini’s films, the Castel Sismondo made for an epic backdrop as Ferretti’s models traversed the fountain of the square in front on mirrored runways that gave the impression they were walking on water, with the score of Fellini’s 8 1/2 from 1963 providing a suitably cinematic soundtrack. But, the designer said, “The collection isn’t based on Fellini as a style. It’s the dream of Fellini. Rimini and this region are very romantic, very dreamy. I want to dedicate the collection to this area because the people who know this area know that there’s a way of life that’s very unusual. They’re dreamers, and they’re very generous.” Her resort proposal was signature Ferretti, painted in the colours of the sands of the region: fluid, languid dresses dramatically cloaked in glistening hooded capes, and ethereal translucent gowns adorned with elusive prints of the Castel Sismondo.

Ferretti invited guests to her own home

“It’s a very special kind of dressing. It’s very chic and sophisticated. I think it’s important now for fashion to speak about quality,” Ferretti said, summing up a collection that was initially intended to showcase the quality of her Romagna craftsmanship but became a demonstration of the quality of the area’s community spirit. “It’s a very strong region. I think it’s the best in Italy. At the moment, it’s just a different situation. But this is important for tourism,” she concluded. Soon, the beaches of the Riviera Romagnola will be studded with parasols and sunbathers, but on the day after her show, Ferretti had something closer to home planned for her Resort guests. Demonstrating the generosity and hospitality central to the Romagna mentality, she hosted a lunch in her sprawling house in San Giovanni in Marignano.

Pharrell Williams’s Debut For Louis Vuitton Is Scheduled For The First Day Of Paris Men’s Week

Of the many designer debuts we have witnessed over the last couple of seasons, few have been as anticipated and prompted as much chatter as Pharrell Williams’s at Louis Vuitton. The multi-hyphenate musician, who is succeeding Virgil Abloh in the role, will unveil his first collection for the French house on the evening of 20 June, the first day of Paris Men’s Fashion Week.

The provisional calendar, which was published today by the Fédération de la Haute Couture et de la Mode, sees Louis Vuitton move up from its usual spot to the opening day, though kicking off the calendar officially, per usual, is the Bachelor of Arts show of the Institut Française de la Mode. Closing the week on 26 June is Ludovic de Saint Sernin, who recently made headlines for departing as creative director of Ann Demeulemeester after only one season. This will be the French designer’s first show after exiting the Belgian house.

Rhuigi Villaseñor finds himself in a similar position, as he will be presenting his latest collection for his label Rhude after exiting Bally last week following just two seasons at the helm. The presentation is scheduled for 21 June.

Newcomers on the presentations calendar include recently announced CFDA/Vogue Fashion Fund finalist Angelo Urritía of the New York-based label 4SDesigns, International Woolmark Prize winner Adeju Thompson of the Nigerian label Lagos Space Programme, the Japanese label Bed J.W. Ford, and C. R. E. O. L. E., the label by Vincent Frédéric Colombo. Debuting on the official calendar will be Burç Akyol, who is one of the nine finalists of the LVMH Prize, the winner of which will be announced on 7 June.

Noticeably absent on the calendar is Thom Browne. The New York-based CFDA chairman often presents his spring men’s collection as part of the Paris Men’s Calendar in June. The brand has not yet shared plans for the spring/summer 2024 menswear season, though it recently presented its autumn/winter 2023 ready-to-wear collection in New York during the designer’s first season at the helm of the CFDA.

Also on the calendar are Paris Men’s Week stalwarts Walter Van Beirendonck on the 21st; Rick Owens, Givenchy, and Dries Van Noten on the 22nd; Dior Men on the 23rd; and Hermès and Loewe on the 24th. Kenzo and Marine Serre will continue to present their ready-to-wear and men’s collections during the showcase.

5 Things To Know About Louis Vuitton’s Aquatic Fairytale Cruise Show On Isola Bella

Nicolas Ghesquière presented an enchanting Louis Vuitton cruise collection on Isola Bella that combined the ethereal (and aquatic) with motifs of centuries past. Below, Anders Christian Madsen shares five key takeaways from the destination show.

The show took place on Isola Bella

When Nicolas Ghesquière makes wetsuits, Mother Nature answers his call. On the evening of the Louis Vuitton Cruise 2024 show in the Borromean Islands, it was raining so heavily that the designer made the tough – but wise – decision to move his presentation indoors. The show was to take place against the sunset in the hanging gardens of Isola Bella off the shore of Lake Maggiore, home to a palatial 17th-century palazzo. Instead, the pictures you see here were shot in the afternoon (when it was perfectly sunny) while guests – including Oprah Winfrey, Cate Blanchett, and Emma Stone – saw it on the backdrop of the literally heavenly painted salons of the Palazzo Borromeo. It didn’t take away from the experience, nor from a water-centric collection that felt more fantastical – more fairytale – than Ghesquière’s signature travels through time.

The cruise was centred around the castles of the Borromeo family

“Surprisingly, Louis Vuitton has never shown in Italy,” Ghesquière said. “I wanted a special place, something new. Also: different architecture, a different context. The paradoxical idea of a botanical cruise really intrigued me.” On the eve of the show, guests from near and far, who stayed in the fabled hotels of Lake Como, dined in Rocca di Angera on the shore of Lake Maggiore – the 13th-century seat of the Borromeo family, which owns the nearby island – while the day of the show was spent cruising Lake Como and lunching in the picturesque Torno, before processing to the floating gardens of Isola Bella. “I had heard amazing stories about it. The very suggestion of the island is a journey, a lake, a palace, gardens… A fabulous destination, with mosaic-covered grottos, statues, a unicorn – the Borromeo family emblem – terraces, an atrium,” Ghesquière mused.

Isola Bella inspired a collection founded in the myths of nature

The lakes of Northern Italy are – and historically were – a place of leisure and beauty. Nothing illustrates that better than the folly of Isola Bella: an out-of-this-world, almost sci-fi-esque creation created solely for the sake of beauty; a fantasy brought to life. (Star Wars was even filmed there.) It triggered a different approach for Ghesquière, who sounded positively swept away by the fairytale woman the island inspired: “It beckons more dreamlike reflections. I see this collection as a tale devoid of nostalgia. A story of anticipation. A kind of archaeology of the future. The mystery of lakes that one imagines might be populated by fantastical creatures,” he said. “A post-modern wyvern, a legendary creature, a kind of freshwater mermaid that lives in rivers, ponds and lakes. A very beautiful, mythical woman.”

It was a wardrobe for time-travelling ballroom divers

Like the Borromean visionaries that dreamed up the floating paradise of Isola Bella, Ghesquière brought his own fantasy to life in a collection that spliced modern and mythical aquatic motifs – divers and mermaids, if you will – with botanical themes, and drew on the majestic parties and wardrobes the island has played host to over the centuries. Dresses, suits and jumpsuits were hybrids of the weather-appropriate scuba material of wetsuits and the couture-like fabrics of the formal wardrobe, expressed in silhouettes that both referenced and transcended the last five centuries: crop tops and flounce miniskirts cut like armour; Renaissance-sleeved tops and ruffled collars; sweeping, regal robes worn over robotic bathing suits, and sculptural tops and skirts that looked as though they were about to metamorphose into enormous flowers.

The show concluded with epic eveningwear

Anyone who’s seen the trailer for the live-action version of The Little Mermaid (which happened to premiere on the night of the Louis Vuitton Cruise show) and heard Ariel’s heart-piercing “ah-ah-ahs” will have been transported back to the fairytales of childhood. The finale of Ghesquière’s show hit the same emotional buttons: a series of blushing, cascading, effervescent ballgowns ruffled like the foam and froth of waves, and rendered in the same pretty pastels as the conches Disney mermaids sleep in. Paired with crown-like headpieces that Ghesquière likened to the horns of fauns – created by an expert atelier in Rome which makes costumes for the Italian cinema and opera – they added an infectious, childlike sense of wonder to the show, which no torrential rain could drown out.

Ludovic De Saint Sernin Out At Ann Demeulemeester After One Season

Ludovic de Saint Sernin is exiting Ann Demeulemeester it was reported over the weekend, a little over two months after showing his debut autumn/winter 2023 collection for the label in Paris. Neither De Saint Sernin nor Claudio Antonioli, who bought the Demeulemeester label in 2020 (and is close with Ann Demeulemeester, the woman), released a statement.

The news comes just a few days after it was announced that Rhuigi Villaseñor would be exiting Bally, although Villaseñor had two seasons to put his own spin on the Swiss label.

Previously, the Ann Demeulemeester label was run by its creative design team. De Saint Sernin’s debut collection, which hewed closely to the gender-fluid approach to dressing he works with at his own brand, quickly made a splash among the internet’s favourite It-girls. Most notable was the actor Hunter Schafer, who wore the show’s opening look, a long bias cut white silk skirt and a singular extra long feather delicately covering the breasts, at the Vanity Fair Oscars Party. “It’s my way of saying that after this first step I’ll be spreading my wings and then be able to express myself,” De Saint Sernin told Nicole Phelps of the look.

Labrum London Is The 2023 Winner Of The Queen Elizabeth II Award

Labrum London is the 2023 recipient of the Queen Elizabeth II Award for British Design. During an event at 180 Studios on Thursday, King Charles III presented founder Foday Dumbuya with the prize (established in honour of the King’s late mother) in front of the press, industry insiders and fashion talent, who were invited to celebrate the positive impact of the British Fashion Council Foundation and its initiatives.

His Majesty said in a speech before announcing Labrum as the winner: “I just wanted to use this moment to congratulate all those who I know are working so hard having been through their colleges and done all their courses, and received some help at least from the British Fashion Council Foundation. I do hope you do really well, and I shall be watching – from a distance.”

As the crowd whooped and cheered, a visibly emotional Dumbuya took to the stage. “Growing up in Sierra Leone, my deep love and appreciation for my country, the rich and vibrant culture inspired me to create Labrum,” he said. “I saw how fashion can be a powerful tool for self expression, cultural identity and economic growth. With that in mind, I set out to create pieces that are not only beautiful, but also empower local communities while preserving the culture,” he went on.

Dumbuya also acknowledged the dedication of “countless individuals who have supported me and my vision throughout my career”. The designer, who presented his striking autumn/winter 2023 collection in Brixton Village earlier this year, also thanked His Majesty, the British Fashion Council, his family, his wife, his team and friends. “I think this award is for all young British and Sierra Leonean kids who continue to dream. Please don’t stop dreaming.”

Founded in 2018, the Queen Elizabeth II Award for British Design spotlights designers “who make a difference to society through either sustainable practices or community engagement”, according to the BFC. The first award was presented by the late Queen to Richard Quinn, and it has since been won by Bethany Williams (2019), Rosh Mahtani (2020), Priya Ahluwalia (2021) and Saul Nash (2022).