Fashion

Thakoon Panichgul’s arguably most famous fan and wearer, Taylor Schilling, may have been too busy shooting Orange Is The New Black to fete the designer at Barneys Beverly Hills on Friday night but that doesn’t mean Thakoon isn’t admired by many other famous faces in Hollywood. Rashida Jones and Ashley Madekwe (both in Thakoon), plus stylists Ryan Hastings, Penny Lovell, Brad Goreski and Joey Tierney, and Barneys fashion director Tomoko Ogura joined the diminutive designer in the new Freds restaurant – already the new Beverly Hills hotspot – to celebrate his 10 years with Barneys and a capsule collection he designed exclusively for the the department store. While enjoying tuna tartare, chicken or halibut, and ice cream sundaes, the fashion crowd chatted about working through one of the busiest times of the year. “I’m in the middle of dressing Anne (Hathaway) for Interstellar,” said stylist Lovell, in a chic black COS illusion jacket over a black dress. “I can’t even think about awards season yet, but I know how quickly it’s coming. “ Cameron Silver, George Kotsiopoulos, stylist Kris Zero, PR maven Ina Treciokus and Barneys top marketing woman Charlotte Blechman rounded out the crowd. New York-based Blechman was also in Tinseltown last week, after presiding over Barneys Beverly Hills’ HOLA benefit and the store’s 20th anniversary party on five floors of the store. “It’s a lot of six a. m. flights,” she sighed. “But we all love L. A. and I sleep on the plane. “Source link

The Apple Boutique was a Beatles project that quickly went bust. But impractical 1960s clothes from its collection emerged this summer at an “Antiques Roadshow” taping in Chicago and are headed for display and sale in Manhattan.

Susan Brink, an artist in Greenwood, Ind., bought the clothes from the Beatles’ store when she was a young Anglophile visiting London in 1968. The boutique’s clothing and accessories in psychedelic patterns and shimmering textures attracted droves of shoplifters that the management could not control, and the Beatles closed the shop after a few months.

Paul McCartney’s news release at the time said that the musicians’ business was “concerned with fun, not frocks.” The boutique’s fashions, designed by an artist collective called the Fool, did not suit Ms. Brink’s small-town life. She almost never wore them; when she did once walk around in her turquoise-and-lavender pantsuit from London, she said in an interview, “everybody stared at me.” She showed the trove to some friends curious about her past tastes, and she maintained it even as threads here and there failed over the years. “I did try to retrieve every button that fell off in my closet,”she said. “It’s been such a pleasure to have them, even just tucked away. “They will offer the Brink collection of half a dozen outfits in New York on Nov. 12. Estimates are a few thousand dollars each for flounced and scalloped pantsuits and dresses made of velveteen, satin, silk and synthetics in shades of teal, lime green and fluorescent orange. Ms. Brink had brought the clothes to the “Roadshow” taping, where Karen Augusta, the company’s owner, was appraising fashion and textiles. When Ms. Brink opened her suitcase, Ms. Augusta said in an interview, “my jaw just dropped.” Marijke Koger-Dunham, a former member of the Fool who is now a painter in Shadow Hills, Calif., wrote in an email that the collective’s textiles came from Liberty Department Stores and “a lot of different and odd places.”

Store mannequins had varied skin tones to represent different ethnicities. The Beatles and their wives and entourages wore the clothes at performances and on movie sets. Despite steady sales and a stream of curiosity seekers, the mismanaged store failed. A last chaotic wave of shoppers was allowed to take home the remaining stock free. “I like the idea that it was all given away in the end,” Ms. Koger-Dunham wrote. The Fool’s Apple products rarely appear on the market.

In 2004, at Christie’s in London, a batch of the collective’s Beatles memorabilia, including bed linens and men’s clothing and underwear, sold for $3,000. On Dec. 9, Kerry Taylor Auctions in London will offer a burgundy satin men’s jacket with bell sleeves and rose motifs from the boutique (estimated at $640 to $980). An Australian dentist has amassed a collection of some 300 antique radios and detailed many of them in a new book, “Deco Radio: The Most Beautiful Radios Ever Made” (Schiffer Publishing).

During a visit to Manhattan to promote the book, the dentist, Peter Sheridan, explained how the portable radios succeeded a generation of bulky models meant for living-room gatherings, giving wives and children a way to sneak off and listen to their favorite programs in private, for example. He also pointed out design and technological similarities in radios from European, American and Australian manufacturers who were copying one another. A few of Dr. Sheridan’s 1940s German radios came from companies under Nazi control. On a Russian radio, made in 1954, a Communist red star crowns the striated caramel case, and dials are labeled so listeners could easily find broadcasts from various Communist capitals. Dr. Sheridan has spent two decades acquiring the radios, which date to the 1920s, along with related advertisements, catalogs and instruction booklets. The round, amoeboid and heptagonal forms were the brainchildren of celebrated designers including Isamu Noguchi, Walter Dorwin Teague, Norman Bel Geddes, and Charles and Ray Eames.

The radios typically cost a few thousand dollars each. Dr. Sheridan has tracked them down through friends, dealers and auction houses including Christie’s, Bonhams and Leonard Joel in Melbourne, Australia. He will accept some wear and tear and replaced knobs, if the shapes and colors are irresistible. “Rarity triumphs perfection,” he said, pointing to minor rim scratches on a 1938 blue-glass heptagon designed by Teague. Functional wiring is not crucial for him. When one of his 1935 Radio-Glo models in colored glass is plugged in, he said, “the light inside may come on and nothing else.” He researched, wrote and designed the book himself and took the photographs, mostly of his own holdings. He keeps buying; half a dozen purchases arrived while he was away on his American book tour in September. He is adding discoveries to his website,
decoradio.com, and the public is welcome to submit news to the site’s addenda section. Although his book covers inventions from 15 countries, he said, “I might have missed something.” Advertising banners for traveling circuses rarely survive unscathed, since they were mostly draped across the troupes’ tents and posted on town walls. Howard Tibbals, a circus artifact collector in Florida, has spent an undisclosed sum in recent years on four particularly huge and deteriorated banners as gifts for the Ringling museum in Sarasota, Fla.

The early 1900s cloth banners, which will go on view Nov.7, measure over nine feet tall. Mr. Tibbals had acquired them in 1989 along with a collection of circus books. When the crumbling images of acrobats and clowns were first unfurled before him, he said in an interview, “it wasn’t a pleasant sight.” The sheets, by Frans De Vos, an obscure Belgian artist who was also the director of a traveling circus, had been haphazardly rolled, glued, patched and stitched over the years. They required years of work by Artex Conservation Laboratory in Landover, Md. Artex’s team, led by Barbara A. Ramsay, who is now the chief conservator at the Ringling, removed grime and old repairs, smoothed creases and bulges and reinforced the backing. The restorers did not, however, make the surfaces look pristine again. “We did leave signs of age and wear and use,” Ms. Ramsay said. An auction house that frequently handles circus and sideshow ads, Mosby

Company Auctions in Frederick, Md., will be dispersing a banner collection in the next few months with estimates of $600 to $4,500 each. There are minor wrinkles and stains on advertisements for attractions like Harold Smith, who played music by rubbing drinking glasses, and the Monkey Speedway, a racetrack where monkeys competed and collided in gas-powered cars. Source link

For her Oscar-nominated role in Blue Jasmine, Cate Blanchett required a designer-label wardrobe worthy of a wilted New York socialite.

The only problem? Costume designer Suzy Benzinger had a limited, more Nordstrom Rack-esque budget. (In fact, a New York Times piece estimated that the film’s entire wardrobe budget was $35,000, which is often the cost of just one Hermes Birkin bag.) Knockoffs simply wouldn’t do to truly sell the story of a woman who lost nearly everything except a handful of luxury goods. That’s when Benzinger – who has worked with director Woody Allen since 1994 on projects like Deconstructing Harry, Celebrity, and Whatever Works – took a deep breath and a leap of faith. She began calling fashion houses like Chanel, Fendi, Louis Vuitton, and Ralph Lauren to see what strings she could pull. “I relied on the generosity of all these designers,” Benzinger told EW. “I made a list of things I had to have for Cate’s character in order to tell the story… .

Every day, my assistant and I would go through and I would say, ‘I’m going to call Hermes up. Wish me luck. I’ve got to get this Birkin bag.’ Every day we’d check off things on our list. I got to the Chanel jackets, I thought, ‘Everything is going fabulous and this is where it’ll stop… . I’m not going to get the Chanel jacket. We’re going to try though. Wish me luck. ‘When we got that, I burst into tears. I thought, ‘How did I get my whole wish list?'”The costume designer admitted her experience was far from the norm. While brands often loan to celebrities for the red carpet, they rarely loan to films. “None of my friends who are costume designers have had the same experience that I’ve had,” she said, crediting Cate Blanchett’s personal fashion house relationships as a huge help. “The gods were watching when Woody wrote the script, because I thought, ‘Oh my God. ‘ I never thought I would have gotten all these things. I really owe it to Cate. “With one character down, Benzinger turned her attention to Jasmine’s sister, Ginger (Sally Hawkins), who had a more casual aesthetic that reflected the character’s working class status. For this, the costume designer bargain hunted at stores like Century 21 in New York and Loehmann’s in San Francisco, where Blue Jasmine was shot. The biggest irony? “Sally Hawkins’ wardrobe cost more than Cate Blanchett’s. Isn’t that hysterical? I actually spent more money on Sally then I did on Cate. You have to laugh. But it’s only because of the generosity of designers like Karl Lagerfeld. “Thanks to her thriftiness, Benzinger is nominated for her first Costume Designers Guild Award. “I’ve been doing this for many, many years. It’s nice to get the recognition on this. My feeling is that it’s for the whole Woody Allen family.

It’s such a funny thing because, honestly, when we do these Woody Allen films we race from the minute we start to the minute we finish. I just hope that I get by. I just hope aren’t gagging over the work that I’ve done because, honestly, I race and I just hope and pray that I do my best work. Honestly, I’m running by the skin of my teeth. By the very last day of shooting, I don’t even know what I’ve done. I’m so exhausted and so crazy that I just think, “I hope it’s OK.” I didn’t see any screenings of it at all. I was in Hawaii when the film opened in New York, and Cate messaged me. She said, “I don’t know how you did it for like $1. 99. The film looks incredible. I’m so proud of you.” I thought, “What?! No! It really looks good?” I’ve only seen the film once because no matter how good it may look, I sit there and I pick it up apart. Like, “Why didn’t I hem that an inch higher?” or “Why is an extra wearing that shirt?” I get so overcritical that I don’t enjoy watching the things that I’ve done. It really makes me crazy. Luckily, I’ve heard from other people that it looks nice. When I got this , I thought, “Are they crazy?”

What’s it like working on a Woody Allen film?
How does a Woody Allen set compare with others? It is funny to hear that I’m contemporary clothing , because when we work on these Woody films, and I love Woody, but you always feel like you’re doing a period film because you’re in Woodyland, which is not contemporary. Yes, it is contemporary , but on the other hand everything gets funneled through his eyes. Woody’s idea of what contemporary clothing is . I had to convince him that people wear jeans. He was like, “Who wears jeans?” I felt like “99 percent of the world wears jeans.” In his mind, he doesn’t wear jeans, so nobody else wears jeans. So when I was nominated for contemporary, I had to laugh because it’s not. It’s Woodyworld. Believe me, he is his own time period.

What was the process like?
Most of my friends are costume designers. We all started together and grew up together. I hear from them. They’ll say, “I only have six months’ prep on this film.” I think, “Six months? We have four weeks’ prep.” And we don’t have all the actors cast when we start. While we’re prepping all the stuff, I’m getting calls from the casting department saying, “So-and-so is now playing this role. And you meet with them next Tuesday for an hour.” So we race. The actors come in and do their bit, but their time is very limited. Time is limited and we have very low budgets. are not overly compensated for what they do. They do it because they want to do it and they love it. We have to be really adaptable to their schedules. I get the script and I read it numerous times and I break it down. I see Woody a day or two days after I read it and then I start. It’s not like other designers. When I hear about what my friends are doing, I think, “You’re on vacation doing a film.” We race around like crazies. I started at 5 in the morning and I until and we work out of my loft. Poor Cate Blanchett changing her clothes in my bedroom and then coming out into the work room. The way I work is a little insane. We do it because we love it. Every time I get the script, I love the script so much that I get excited that the last thing I’m thinking about is money. I’m like every other actor that gets their part and says, “I want to do this.” I’m in the same boat that they’re in’except I’m responsible for all of their looks, which is daunting, but it’s like exercise. It uses every single creative muscle you have. So your nerve ends are going from the minute you start. There’s no resting. But you love it and that’s why you do it. And you learn wonderful things about actors.

What did you learn about actors working on Blue Jasmine?
I learn something different every time I do these films. When we do these Woody films, always come in and they’re always very nervous because they heard stories of the old days where Woody would let an actor go because of this or because of that. But I learned on this one the passion that Cate and Sally had for the script. They were in so much of the film. A lot of the films I’ve done with Woody, the actors were playing bit roles , but the commitment that those two gals had working on this film’ We worked as a team – the three of us – every single day, working to do the best we could for Woody. I learned about the passion of a really terrific actress and what it was like. I was by how passionate they were. They begged for more takes after they finished. They’d say, “Can we do it one more time?” Woody’s one of those guys that if they do the take the first time and he thinks it’s terrific, he doesn’t do a second one. He’ll say, “This is great. Why would we need to do it again?” The two of them were so involved in the script. They killed themselves on this thing. They wanted it to be great.
How involved is Woody when it comes to wardrobe?
This is what I love about Woody: Nobody works as hard as he does and as efficiently as he does. Every year, he puts out a film. He has a way of working that is very precise. He doesn’t waste time. When I have an appointment with him, his assistant will say, “Your appointment is between 3:15 and 3:35.” You go, “OK.” He is generous with his time, but if I say, “I need an hour,” it’s a very precise hour, because he works hard. So I come in and I show him my ideas for the characters. I’ll say, “This is what I’m thinking,” and he’ll say right away, “You’re on it. Perfect. Great.” I don’t have to show him everything. I just have to show him my basic feeling on things. Once he’s OK’d my basic feeling about the characters, he leaves me alone. He’ll say, “OK. Do it.” We have our screen test and he sees the screen test. This is where I always laugh’ I love Woody’ He’s written the script. I’ll say, “You wrote the script.” He’ll say, “Why does she have 10 outfits or 12 outfits?” I’ll say, “It takes place during different years. And this is for a dinner date. That’s why she has different clothes.” And he’ll say, “Well, that looks really terrific. Why does she have to change out of that?” And you’ll say, “Because it’s six years later.” That’s how he feels. You’ve seen pictures of him. Can you tell what year is from? Never. If you look at it, he’s wearing the same corduroy pants and a Ralph Lauren shirt. Nothing is different about what he wears. So I keep my meetings short because if I start to say stuff like you say as a costume designer: “I think this might work for the scene because it seems a little sad'” His eyes glaze over. Like, what do you mean sad clothing? He’ll stop me. This has happened many times. Obviously, I haven’t learned because sometimes it just comes out like a costume designer. He’ll say, “Suzy, I wear this outfit to work. I wear this outfit to Le Cirque at night. I wear this outfit to an opening.” I think, “Yes, but you’re Woody Allen.” That isn’t how everyone else dresses necessarily. He probably has 50 pairs of those same pants, but he loves those pants. Sometimes with the costumes, his eyes will glaze over when you start to talk about clothing. It’s not that he doesn’t love it, because Gianni Versace was a great friend of his. Carla Fendi is a great friend of his. Ralph Lauren’ So he loves fashion designers. I think there’s this wonderful affinity with fashion designers and Woody because he gets the way they work and they get the way he works. He does a film a year and they do a year. They’re like-minded.
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Been obsessing over Emma Watson’s pixie cut and haute couture looks to notice that her “Harry Potter” co-star Daniel Radcliffe is quite style-savvy himself.

Confession: We’ve been way too distracted obsessing over Emma Watson‘s pixie cut and haute couture looks to notice that her “Harry Potter” co-star Daniel Radcliffe is quite style-savvy himself.

While we certainly tip our hats to Hollywood’s most stylish men, Radcliffe’s array of pinstripe suits, patterned silk ties and sharp footwear deserves the spotlight. Since the release of the first “Harry Potter” film in 2001, the hot young actor’s wardrobe was filled with British flair. But in recent years, Daniel has swapped his tousled, boyish locks and oversized T-shirts for a slicked back hairstyle and tailored blazers.As Radcliffe shows us, suits are not just for formal occasions – the look is taken from the third image in the look book. It’s not just where you wear suits, it’s how you wear them. The casual grey suit – amped up with the smart Mr. Porter waistcoat – is filled with sophistication. With the right watch and polished, brown shoes, wearing a suit will no longer feel like a chore – a laborious exercise before work – but something, in fact, to be embraced.

To celebrate Daniel Radcliffe‘s 23rd birthday on Monday (July 23rd), we’re taking a look at his style transformation over the years. Aren’t you glad the invisibility cloak was just a prop?

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Actress Christina Hendricks doesn’t just wear 1960s fashion when she’s playing Joan Holloway on “Mad Men.” Vintage is a way of life for her.

Actress Christina Hendricks showed off her vintage fav’s with Laura Brown on episode two of BAZAAR’s YouTube show “The Look. ”

Actress Christina Hendricks doesn’t just wear 1960s fashion when she’s playing Joan Holloway on “Mad Men.” Vintage is a way of life for her.

The redheaded beauty showed off her vintage faves with Laura Brown on episode two of BAZAAR’s YouTube show “The Look.” The two start at Hendricks’ favorite vintage store, My Ulrika (on La Brea Blvd.), and then head to her go-to hat store, Ariane (on Melrose Blvd.).

From a metallic coat to a gypsy straw hat to the largest necklace we’ve ever seen, it’s clear that Hendricks has a both bold and refined style. Perhaps her best piece of advice was, “The secret to wearing a hat is that you have to commit to it. You have to commit to these feathers!”

The actress explained that she first started shopping vintage when she was only 10 or 11 years old because there weren’t many shops in Twin Falls, Idaho. “I learned to create my own looks, often times tragic,” she admitted. She also shared that she went through more than one fashion “phase,” including wearing black leather jeans every day. “I had my goth phase, which was pretty dramatic,” she said.

When she was a model in New York, she was so broke that her outfits were a combination of cheap clothes from Strawberry and great vintage finds from stores in Vermont where “a lot of people didn’t want the stuff that I wanted,” she said.

Hendricks reflected that being on “Mad Men” changed her style to more tailored silhouettes and pencil skirts instead of the 1920’s “baggy, floral, lacy things that probably weren’t the most flattering on me but they were just so gorgeous I just wore them anyway. ”

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Olivia Wilde has gone to the lite side. The natural blond actress has already proven that she’s not afraid of changing up her hair styles from time to time.

Chelsea Lauren/Adam Nemser/startraksphoto.com

Olivia Wilde has gone to the dark lighter side. The naturally blond actress has already proven that she’s not afraid of changing up her hair styles from time to time (not as much as Rihanna, though) after chopping off her long tresses for a casual layered ‘do in January.

But instead of going shorter, Wilde lightened up her color. READ: Did Olivia Wilde and Chris Hemsworth Get Married?! Liv’s new look is for her latest film Rush with Chris Hemsworth (remember, we saw a peek of it when we thought they got hitched).

Now, we’re pretty sure it’s common knowledge that Wilde would look amazingly gorgeous regardless of what she did with her hair. Heck, she could even pull a G. I. Jane and it’d be hot. But we gotta ask, which look do you like better?

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Guess who this barely dressed beauty is! The blue-blooded British actress Helena Bonham Carter has a penchant for corseted costumes and wizardly wardrobes.

You’ll never guess who this barely dressed beauty is! The blue-blooded British actress has a penchant for corseted costumes and wizardly wardrobes. She’s been nominated for five Golden Globesand we can see why, va-va-voom!a SAG Award, Oscar and two Emmys. Her work ranges from period dramas to blockbuster fantasy. So who is this versatile corset queen?

It’s Helena Bonham Carter!The 45-year-old King’s Speech actress stars in Rufus Wainwright’s newly released video for his single “Out of the Game.” And with the tousled hair and exposed cleavage, she’s one seriously hot librarian!

The Harry Potter actress can be seen next in hubby Tim Burton’s film Dark Shadows, also starring Johnny Depp, Michelle Pfeiffer and Eva Green. Helena Bonham Carter, CBE is an English actress. She made her acting debut in a television adaptation of K. M. Peyton’s A Pattern of Roses before her debut film role as the titular character in Lady Jane.

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Kris Humphries shines on the court and now his sister Kaela Humphries shines for the camera. This is her first shoot with Ford Models’ plus-size division.

Kris Humphries shines on the court now it’s sister Kaela Humphries’ turn to shine behind the camera.

The former medical-sales rep from Minnesota recently scored her first campaign since signing with Ford Models’ plus-size division a month agoand we’ve got the pictures right here.

Kaela struck a pose in a various summer looks from the Limited’s new plus-size line, Eloquii.

“The line is really fashion forward, the clothes fit and they look amazing,” she told People. “It’s been a really good experience. ”

Kaela previously appeared in ads for Nordstrom and Kohl’s while signed to Wilhelmina Models a few years ago, but this is her first pro gig in awhileand it’s clear she had no trouble picking up where she left off.

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Amber Rose vs. Rihanna who was in London pairing her bone harem pants with a photo print shirt, black leather jacket, black sneakers and a red baseball cap.

Amber Rose is filching everyone’s look lately. First it’s Nicki Minaj’s boots, now it’s Rihanna’s pantsmaybe she’s hoping their fame will rub off on her, just a little? Rihanna and Amber Rose were both snapped wearing popular LA brand Joyrich’s 2012 Bone Collection harem pants. The edgy prints and retro look seem to be favorites of the “Rude Boy” chic tribe.
Rihanna, 23, went simple back in February when she was in London by pairing her bone harem pants with a photo print shirt, black leather jacket, black sneakers and a red baseball cap.
READ: Bitch Stole My Boots: Amber Rose vs. Nicki Minaj

While 29-year-old Amber Rose, who you may recognize as Kanye West’s ex and now model-turned-actress-turned-hip-hop-hopeful, opted once again for that full head-to-toe look she seems to prefer and glammed it up with studded black Christian Louboutin pumps.

Who do you think looks bad to the bone?
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Rooney Mara sheds her Girl With the Dragon Tattoo alter ego when she swapped out her character’s trademark blunt dark haircut for a drastic different do.

So long, Lisbeth Salander! Rooney Mara shed her Girl With the Dragon Tattoo alter ego when she swapped out her character’s trademark blunt and dark haircut for a drastically different ‘do.

The actress, who turns 27 next week, was spotted in character on the New York City set of her film, The Bitter Pill, sporting long, wavy ombre tresses with side-parted short bangs, a tan trenchcoat, minimal makeup and headphones.

Mara’s new drama, about a woman who’s on meds to cope with the stress from her husband’s impending release from jail, also stars Channing Tatum and Jude Law. Lisbeth fans don’t need to worry, though, because no doubt the star will be back to her edgy chop job when The Girl Who Played With Fire begins filming.

So what do you think of Rooney’s long hairdo?

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