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Bella Hadid in Elie Saab
Editor’s LETTER We have weddings on the brain this issue. Not only do we have the brand new season of Bridal Fashion Week to fawn over, but a certain former First Avenue cover star only went and married herself a Prince… and we’re making pretty big deal out of it! Once you’re done with staring at pictures of Prince Harry and Meghan Markle’s glorious Royal Wedding, we invite you to cast your eyes over to Hollywood royalty in the form of the sparkling Cannes Film Festival red carpet. Is it just us, or do the looks get better and better each year? And that’s not all – from gushing over cover star Penelope Cruz and her glorious style, to showing you how to steal a very simple but oh so chic Burberry-heavy celeb look, it’s a jam-packed issue to say the least! Plus, keep the sun out in style with our selection of the most fashionable, statement-making sunglasses around. And we haven’t even mentioned our trendy leopard print edit yet… “Myles Mellor PENELOPE CRUZ - PAGE 38 6 CONTENTS June - July 2018 Style Crushing on… 38 Penelope Cruz Bridal Fashion Week… 12 Spring 2019 Eye Spy… 64 Stunning new season sunnies 10 38 Trend to Try… 32 Leopard print Cannes Film Festival 2018 52 Our most glamorous red carpet looks Get the Look… 10 Dove Cameron 12 52 www.firstavenuemagazine.com First Avenue Magazine @firstavenuemagazine 8 Publisher Hares Fayad Editor Myles Mellor Senior writer Maria Pierides Art Director Ahmad Yazbek Overseas Contributers Nabil Massad, Paris Kristina Rolland, Italy Samo Suleiman, Lebanon Isabel Harsh, New York Kamilia Al Osta, London Offices (U.A.E.), Dubai Jumeirah Lakes Towers, JBC 2 P.O. -
Fashion Awards Preview
WWD A SUPPLEMENT TO WOMEN’S WEAR DAILY 2011 CFDA FASHION AWARDS PREVIEW 053111.CFDA.001.Cover.a;4.indd 1 5/23/11 12:47 PM marc jacobs stores worldwide helena bonham carter www.marcjacobs.com photographed by juergen teller marc jacobs stores worldwide helena bonham carter www.marcjacobs.com photographed by juergen teller NEW YORK LOS ANGELES BOSTON LAS VEGAS MIAMI DALLAS SAO PAULO LONDON PARIS SAINT TROPEZ BRUSSELS ANTWERPEN KNOKKE MADRID ATHENS ISTANBUL MOSCOW DUBAI HONG KONG BEIJING SHANGHAI MACAU JAKARTA KUALA LUMPUR SINGAPORE SEOUL TOKYO SYDNEY DVF.COM NEW YORK LOS ANGELES BOSTON LAS VEGAS MIAMI DALLAS SAO PAULO LONDON PARIS SAINT TROPEZ BRUSSELS ANTWERPEN KNOKKE MADRID ATHENS ISTANBUL MOSCOW DUBAI HONG KONG BEIJING SHANGHAI MACAU JAKARTA KUALA LUMPUR SINGAPORE SEOUL TOKYO SYDNEY DVF.COM IN CELEBRATION OF THE 10TH ANNIVERSARY OF SWAROVSKI’S SUPPORT OF THE CFDA FASHION AWARDS AVAILABLE EXCLUSIVELY THROUGH SWAROVSKI BOUTIQUES NEW YORK # LOS ANGELES COSTA MESA # CHICAGO # MIAMI # 1 800 426 3088 # WWW.ATELIERSWAROVSKI.COM BRAIDED BRACELET PHOTOGRAPHED BY MITCHELL FEINBERG IN CELEBRATION OF THE 10TH ANNIVERSARY OF SWAROVSKI’S SUPPORT OF THE CFDA FASHION AWARDS AVAILABLE EXCLUSIVELY THROUGH SWAROVSKI BOUTIQUES NEW YORK # LOS ANGELES COSTA MESA # CHICAGO # MIAMI # 1 800 426 3088 # WWW.ATELIERSWAROVSKI.COM BRAIDED BRACELET PHOTOGRAPHED BY MITCHELL FEINBERG WWD Published by Fairchild Fashion Group, a division of Advance Magazine Publishers Inc., 750 Third Avenue, New York, NY 10017 EDITOR IN CHIEF ADVERTISING Edward Nardoza ASSOCIATE PUBLISHER, Melissa Mattiace ADVERTISING DIRECTOR, Pamela Firestone EXECUTIVE EDITOR, BEAUTY Pete Born PUBLISHER, BEAUTY INC, Alison Adler Matz EXECUTIVE EDITOR Bridget Foley SALES DEVELOPMENT DIRECTOR, Jennifer Marder EDITOR James Fallon ASSOCIATE PUBLISHER, INNERWEAR/LEGWEAR/TEXTILE, Joel Fertel MANAGING EDITOR Peter Sadera EXECUTIVE DIRECTOR, INTERNATIONAL FASHION, Matt Rice MANAGING EDITOR, FASHION/SPECIAL REPORTS Dianne M. -
The United States Of
SAAB’S BIG THE BATTLE FOR PUSH DOWNTOWN ELIE SAAB IS AMONG A WAVE OF LEBANESE DESIGNERS RAISING THEIR PROFILES IN THE WESTFIELD WORLD TRADE CENTER UNVEILS U.S. AND ABROAD. PAGE 8 ITS FIRST LIST OF TENANTS AT LAST. PAGE 3 WWDMONDAY, NOVEMBER 17, 2014 ■ $3.00 ■ WOMEN’S WEAR DAILY THE UNITED STATES OF LUXURY By MILES SOCHA and SAMANTHA CONTI 16 percent; Hermès’ jumped 16.9 percent at constant exchange, and Gucci’s increased 8 percent at its own stores. AMERICA THE BEAUTIFUL. The data are unequivocal: In the third quarter, the U.S. That seems to be the song luxury brands are singing these days. notched 3.5 percent growth in gross domestic product, With the Chinese market cooling and Europe in the doldrums, demonstrating broad-based improvement across the economy. the U.S. is looking more like the luxury El Dorado it used to The most recent study by Bain & Co. and Fondazione be. Simply scanning the third-quarter, or nine-month, results of Altagamma, the Italian luxury goods association, confi rmed the leading luxury brands is proof of the market’s buoyancy: Saint Americas as a key growth driver, accounting for 32 percent of a Laurent’s North American sales leaped 47 percent in the third global market for personal luxury goods estimated at 223 billion quarter; Moncler’s were up 32 percent; Brunello Cucinelli’s rose SEE PAGE 4 2 WWD MONDAY, NOVEMBER 17, 2014 WWD.COM Kors’ Instagram Adds ‘Buy’ THE BRIEFING BOX most social engagement to date one of the fi rst brands to imple- IN TODAY’S WWD By RACHEL STRUGATZ — handbags, such as the Dillon ment an initiative like this. -
Education, Training and Capacity Development in Poverty Reduction and Food Security
THE ROLE OF EDUCATION, TRAINING AND FAO CAPACITY DEVELOPMENT IN POVERTY REDUCTION AND FOOD SECURITY TO CONTACT THE AUTHORS Lavinia Gasperini Senior Offi cer, Agricultural Education Natural Resources Management and Environment Department Food and Agriculture Organization of the United Nations Viale delle Terme di Caracalla 00100 Rome, Italy e-mail: [email protected] David Acker Raymond and Mary Baker Chair in Global Agriculture Professor, Agricultural Education College of Agriculture and Life Sciences Iowa State University Ames, Iowa 50011 USA e-mail: [email protected] THE ROLE OF EDUCATION, TRAINING AND CAPACITY DEVELOPMENT IN POVERTY REDUCTION AND FOOD SECURITY David Acker Iowa State University College of Agriculture and Life Sciences Lavinia Gasperini Natural Resources Management and Environment Department Food and Agriculture Organization of the United Nations (FAO) FOOD AND AGRICULTURE ORGANIZATION OF THE UNITED NATIONS (FAO) - 2009 Reprinted 2009 The designations employed and the presentation of material in this information product do not imply the expression of any opinion whatsoever on the part of the Food and Agriculture Organization of the United Nations (FAO) concerning the legal or development status of any country, territory, city or area or of its authorities, or concerning the delimitation of its frontiers or boundaries. The mention of specifi c companies or products of manufacturers, whether or not these have been patented, does not imply that these have been endorsed or recommended by FAO in preference to others of a similar nature that are not mentioned. ISBN 978-92-5-106237-1 All rights reserved. Reproduction and dissemination of material in this information product for educational or other non-commercial purposes are authorized without any prior written permission from the copyright holders provided the source is fully acknowledged. -
Colette Closes Its Doors in Paris While Numerous Concept Stores Crop up in Less Likely Cities
RETAIL Colette closes its doors in Paris while numerous concept stores crop up in less likely cities. What's next for the FASHION-LIFESTYLE RETAIL FORMULA? SPACES 123 The brainchild of Comme des Garçons'Rei Kawakubo, DOVER STREET MARKET SINGAPORE Dover Street Market — which embodies a retail experience that's built around the concept of'beautiful chaos' — reached Singapore last year. WHEN NEWS OF COLETTE'S closing circu• Colette and DSM were forerunners in their a moment for ourselves, to read a book, for lated last year, surely more than a few retail• field; the latter can be traced as far back as the example' - Wu called upon Casper Mueller ers began second-guessing the concept-store 1960s, when Kawakubo encountered Kens• Kneer Architects to transform a 1930s ware• formula. One of the first of its kind, Colette ington Market during a London visit. Paris, house with Art-Deco detailing into a retail in Paris offered a curated selection - the London, Tokyo: all are known for setting sty• destination that surrounds fashion with a crème de la crème of fashion brands along• listic trends, but similar high-end multi-brand curated selection of titles from Donlon Books side up-and-comers - and hosted cultural concept stores that fuse fashion, art and life• of London, a plant-based tonic bar from New events for 20 years before shutting up shop style are now cropping up everywhere, from York's The Alchemist's Kitchen, and space for in December. Moscow to Vancouver. The recipe? Pick an rotating exhibitions: Ramble On by local artist Seven years after Colette was born, impressive — preferably run-down — space, Myfanwy MacLeod was first in line. -
How Fashion Erased the Politics of Streetwear in 2017
City University of New York (CUNY) CUNY Academic Works Capstones Craig Newmark Graduate School of Journalism Fall 12-15-2017 Mask On: How Fashion Erased the Politics of Streetwear in 2017 Frances Sola-Santiago How does access to this work benefit ou?y Let us know! More information about this work at: https://academicworks.cuny.edu/gj_etds/219 Discover additional works at: https://academicworks.cuny.edu This work is made publicly available by the City University of New York (CUNY). Contact: [email protected] Mask On: How Fashion Erased the Politics of Streetwear in 2017 By Frances Sola-Santiago Hip-hop culture dominated the fashion zeitgeist in 2017. From a Louis Vuitton and Supreme collaboration to Gucci’s support of Harlem designer Dapper Dan’s store reopening, the fashion industry welcomed Black culture into the highest echelons of high fashion. Rapper Cardi B became the darling of New York Fashion Week in September after being rejected by designers throughout most of her career. Marc Jacobs traded the runway for the street, staging a show that included bucket hats, oversized jackets, and loads of corduroy on a large number of models of color. But while the industry appeared to diversify by acknowledging the indomitable force of hip-hop culture, it truly didn’t. The politics of hip-hop and Black culture were left out of the conversation and the players behind-the-scenes remained a homogeneous mass of privileged white Westerners. Nearly every high fashion brand this year capitalized on streetwear— a style of clothing born out of hip-hop culture in marginalized neighborhoods of New York City and Los Angeles, and none recognized the historical, cultural, and political heritage that made streetwear a worldwide phenomenon, symbolizing power and cool. -
Body As Crisis
CHAPTER II It is monstrosity, not death, that is the counter- value to life Georges Canguilhem, Monstrosity and the Monstrous … In the middle, cadaverous, awful, lay the grey puddle in the courtyard … I came to the puddle. I could not cross it. Identity failed me Virginia Woolf, The Waves Frida Kahlo and Cindy Sherman both present the wounded flesh. But while Kahlo showed chronic pain as a result of tissue damage, Sherman’s art can be read as a symptom of pain, a reflection of a mental state. While Kahlo painted perpetual pain accompanying her all her life, Sherman shows pain as a structural instability, the blurring of the boundaries of stereotyped femininity. Like her own artistic persona, pain in Sherman’s work is de-individualized; it might just as well be the pain of an author, a model, a character or a viewer. Abandoning any claim on notions such as authorship or intentionality, Sherman disowns – but does not disembody – pain. Pain in Sherman’s art changes the body in the same way that emotional crisis watermarks the identity. Sherman never shows her characters as what is widely understood as idealized figures. Her art forms the counterpart to the American cult of the well-functioning, toned-down body, where any memory of pain had been erased. Pain denied elsewhere here becomes pain transformed into monstrosity, nausea, pathology, hysteria, and disguise. Sherman’s photographs force the viewer to acknowledge the amount of pain constituting the female subject. I am interested in the discursive exchange between feminist and psychoanalytic theories and visual images where Sherman’s art is concerned. -
Trend Hunter Custom Report
Fashion Trend Report for Cámara de Comercio de Bogotá Share-Forward Garb Style Cafe Livestreamed Fashion Luxe High-Performance Jan 31, 2019 - Copyright © Trend Hunter Inc. This report is for internal use within your company. Please do not distribute, publish or present outside your team. Brought to you by Trend Hunter, the world's most popular, largest trend network, fueled by more than 100,000 contributors and 2 billion views of data. We help creative innovators like you Find Better Ideas, Faster™ Highlights Featured Consumer Insights Share-Forward Garb Fashion's close relationship with social media integrates into apparel HoteLeisure Clothing lines take cues from the hospitality industry Livestreamed Fashion The fashion industry incorporates livestreamed content into its campaigns Luxe High-Performance High fashion sneakers evolve from mere aesthetics to high-function Style Cafe The worlds of fashion and food merge into same-store experiences Copyright ©. All Rights Reserved. Highlights Featured Clusters Top 100 Fashion Trends for 2019 From Unisex Leather Apparel to Waterproof Technical Outerwear Top 100 Jewelry Trends in 2018 From Bespoke Solid Diamond Rings to Empowering Jewelry Collections 64 Premium Leather Gifts From Cheeky Designer Wallets to Opulent Italian Tie Cases Featured Examples Branded Luxury Fashion Apps The Balmain App Connects to Younger Consumers and Offers AR Content Handmade Buffalo Leather Bags Jillanie is a Stunningly Elegant and Fashion-Forward Bag for Men Laminated Leather Luxe Shoes Maison Margiela's Retro Fit Sneakers Boast Shiny and Chunky Elements Copyright ©. All Rights Reserved. i. Consumer Insights High-Level Patterns & Examples Consumer Insights are the crown jewel of Trend Hunter. -
Download The
The House of an Artist Recognized as one of the world’s most celebrated perfumers, Francis Kurkdjian has created over the past 20 years more than 40 world famous perfumes for fashion houses such as Dior, Kenzo, Burberry, Elie Saab, Armani, Narciso Rodriguez… Instead of settling comfortably into the beginnings of a brilliant career started with the creation of ”Le Mâle” for Jean Paul Gaultier in 1993, he opened the pathways to a new vision. He was the first in 2001 to open his bespoke fragrances atelier, going against the trend of perfume democratization. He has created gigantic olfactory installations in emblematic spaces, making people dream with his ephemeral and spectacular perfumed performances. All this, while continuing to create perfumes for world famous fashion brands and designers, as fresh as ever. Maison Francis Kurkdjian was a natural move in 2009, born from the encounter between Francis Kurkdjian and Marc Chaya, Co-founder and President of the fragrance house. Together, they fulfilled their desire for a sensual, generous and multi-facetted landscape of free expression, creating a new emblem of French know-how and lifestyle. A high-end fragrance house Maison Francis Kurkdjian’s unique personality is fostered by the creative power of a man who has a taste for precision. The Maison is guided by enchanting yet precise codes: purity, sophistication, timelessness and the boldness of a classicism reinvented. Designed in the tradition of luxury French perfumery, the Maison Francis Kurkdjian collection advocates nevertheless a contemporary vision of the art of creating and wearing perfume. Francis Kurkdjian creations were sketched like a fragrance wardrobe, with myriad facets of emotions. -
Modern Painters March 2006 Let Me Entertain You Juergen Teller Takes
Modern Painters March 2006 Let Me Entertain You Juergen Teller takes centre stage By Vince Aletti IT'S HARD TO TAKE Juergen Teller seriously, but that's part of his appeal. Teller doesn't take himself too seriously either. He's a joker, a prankster, sometimes a buffoon. He became famous as a fashion photographer in the 1990s, when artists (including Corinne Day, Wolfgang Tillmans, Jack Pierson, Nan Goldin and Terry Richardson) and magazines (The Face, i-D, Dutch, Dazed & Confused, Index) that had little or no use for the genre's conventions were scrapping them and starting over from scratch. Mocking fashion's snobbism and superficiality, Teller and his fellow mavericks made work that was cheeky, funny, street smart and much more about the model's attitude than the clothes she wore. Or didn't wear. Teller's most notorious photos, from 1996, are of model Kristen McMenamy wearing nothing but jewellery; inside a crude lipstick heart drawn between her breasts is the name Versace, written in eyebrow pencil. Glamour survived these attempts to debunk it, but Teller had made his mark and established a reliably, often hilariously, perverse career in fashion photography that continues most conspicuously in his ad campaign for Marc Jacobs. There's scant evidence of that career in the Teller exhibition that opens at Fondation Cartier in Paris this month, where the nudity on display will be primarily his own. Titled Do You Know What I Mean, the show includes frankly autobiographical work, some of which was on view at New York's Lehmann Maupin Gallery in January, and finds Teller delving deeper into personal and national history. -
RADICAL RENAISSANCE 60 Foreword by Renzo Rosso Text by Dan Thawley It Is About Emotion and Lifestyle
ASSOULINE / PRE FALL 2016 RADICAL RENAISSANCE 60 Foreword by Renzo Rosso Text by Dan Thawley It is about emotion and lifestyle. I am looking for designers and brands who can create iconic items with modernity. —Renzo Rosso “Denim was freedom, denim was the biggest dream,” says Renzo Rosso of the early days of Diesel, the premium casual brand he launched in 1978 revolutionizing the denim market. Today, Rosso stands at the helm of OTB, the alternative luxury fashion group that encompasses iconic fashion brands Diesel, Maison Margiela, Marni, Viktor&Rolf. These companies are connected by the same streak of rebellion that has marked Rosso’s own career—a sense of going against the grain and a commitment to creation that goes above and beyond commercial restraints, each of them embodying in their own way the group’s mantra, “Only The Brave, challenging the rules, fostering creativity”. Radical Renaissance 60 traces the evolution of this forward-thinking visionary and his group of companies that bring humanity and philanthropy to the workplace and marry craftsmanship with industrial production. Featuring provocative photography from the most eye-catching campaigns, groundbreaking runway shows, and previously unreleased behind-the-scenes images, this volume explores the worlds of design visionaries from Martin Margiela (making an unexpected cameo appearance) to John Galliano, from Consuelo Castiglioni and Nicola Formichetti to Viktor Horsting and Rolf Snoeren, making it a must-have for any fashion enthusiast and industry professional. In the early 1970s, a young Renzo Rosso commandeered his mother’s sewing machine to create a pair of extravagantly flared pants. -
Pirelli Calendar 2010 by Terry Richardson London
Pirelli Calendar 2010 by Terry Richardson London, 19 November 2009 – The 2010 Pirelli Calendar, now in its 37th edition, was presented to the press and to guests and collectors from around the world, at its global premiere in London. The much-awaited appointment with ‘The Cal’, a cult object for over 40 years, was held this year at Old Billingsgate, the suggestive late 19th century building on the banks of the Thames, where from 1875 to 1982 it housed the capital city’s fish market. Following China, immortalized by Patrick Demarchelier in the 2008 edition, and Botswana shot by Peter Beard a year later, 2010 is the year of Brazil and of American photographer Terry Richardson, the celebrated “enfant terrible” known for his provocative and outrageous approach. In the 30 images that scan the months of 2010, Terry Richardson depicts a return to a playful, pure Eros. Through his lens he runs after fantasies and provokes, but with a simplicity that sculpts and captures the sunniest side of femininity. He portrays a woman who is captivating because she is natural, who plays with stereotypes in order to undo them, who makes irony the only veil she covers herself with. This is a return to the natural, authentic atmospheres and images of the ‘60s and ‘70s. It is a clear homage to the Calendar’s origins, a throwback to the first editions by Robert Freeman (1964), Brian Duffy (1965) and Harry Peccinotti (1968 and 1969). Terry Richardson, like his illustrious predecessors, has chosen a simple kind of photography, without retouching, where naturalness prevails over technique and becomes the key to removing artificial excesses in vogue today to reveal the true woman underneath.