Anne Hathaway brings ‘Colossal’ premiere fashion

Red carpet Anne Hathaway is back!

The actress has only infrequently ventured out since welcoming her son last April, but there’s a new film to promote, and a major ball gown to do it in.

At Tuesday night’s New York premiere of her new sci-fi film Colossal (out April 7), Hathaway donned a voluminous, cascading vintage black Armani Prive gown. Though its high ruffled neck obscured part of her face, the gown’s dramatic low back offered simpler lines.

In Colossal (a movie we called Hathaway’s riskiest move since her 2013 Oscar win), the actress plays Gloria, a hard-partying, jobless New Yorker forced to move back to her quiet hometown after getting dumped by her irritated boyfriend (Dan Stevens). Lugging an air mattress back to her empty childhood home, Gloria connects with a high school friend, Owen (Jason Sudeikis), and they start to hang out at his bar. Suddenly, a monster starts attacking Seoul … and that’s where we’ll stop, because spoilers really ruin this wacky, cool indie film.

Congolese-Kiwi high schooler celebrates her culture in debut fashion show

Check out the debut F-Goma at Auckland International Cultural Festival 2017

When creating clothes, Congolese Kiwi teen Favour Yuka wears her heritage on her sleeve.

Born in the Democratic Republic of Congo to Christian missionary parents, Favour’s family moved to Thailand before arriving in New Zealand as refugees, settling in Auckland when she was 7.

The 17-year-old, who has been sewing since Year 9, uses fashion to express her pride in her unique identity.

Inspired by bold Congolese style

Initially inspired by her mother’s bold sense of traditional Congolese style, Favour has given it a contemporary twist by blending vibrantly patterned Congolese fabric called pagne with modern silhouettes.

She will debut her fashion line at the Auckland International Cultural Festival on Sunday 2 April.

“I would love for my fashion to inspire my community to wear more traditional-influenced dress in the street,” says Favour.

“My Mum would describe me as someone who takes so much pride in my culture – I’ve come to realise I am who I am, and I’m always interested to know where I’m from.”

See Favour’s fashion line

If you’re interested in checking out Favours’ debut, come along to the Auckland International Cultural Festival on Sunday 2 April at Mt Roskill War Memorial Park, 10am-5pm or have a sneak peek on her Facebook page.

Favour will also be on an upcoming episode of Both Worlds on TV3 later on in the year.

 DEAL MAN

 

Why Cynthia Nixon Is Wrong To Claim ‘Sex And The City’ Pressured Women Into Fashion Choices

When I was 14 years old, a trend infiltrated my social sphere: the 90s gothic trend. Black was its hue and metal studs, the ticket ‘in’ to this exclusive fashion: on bracelets, belts, chokers, backpacks – who cared, the spikier and pokier, the better.

Fake piercings suddenly emerged too – from the nose and the lip to… the eyelid, practically. It was all about heavy eyeliner and jet-black lipsticks, chains dangling from trouser pockets and ripped black tights, cross pendants and clumpy Doc Martens. And terrible, terrible, headachy music.

Frankly, it terrified me. And for that reason, I steered clear of the fad entirely.

That was my choice. Yes, I felt social pressure to join in; to become one of ‘the goths’ who wore their sombre faces 24/7, reflecting how very hard it was to be a #FirstWorldTeenager. Nonetheless, I snubbed the ‘peer pressure’ – continued with my sensible midi skirts – and remained un-studded and un-chained throughout my school years. It wasn’t about self-assuredness or originality. Really, I just didn’t want to walk around in chains.

Skip forward a few years, and Sex and the City landed: the colourful, sparkling fantasy of romance, style and fast-paced urban living. That was a trend I did want to follow. So I wore the stilettos and the short skirts, the loud colours and the faux fur overcoats. I drank cocktails at hotel bars and snuck my way into A-list after parties and the launch of West End nightclubs. I wanted so much to be part of the buzzing, sexy, city life, like that experienced by Carrie et al.

But I was always aware that it was ‘a trend’ I was following. All my friends were. We acknowledged we were wannabe Carries or Charlottes, Mirandas or Samanthas, and that was very amusing to us. We never felt pressured into being one or other – we merely enjoyed the pretence. I guess it made us feel glamorous and grown up. It was our coming of age.

That said, not everyone joined in. Many of my peers thought it was ridiculous – ridiculous phase, ridiculous sitcom. Each to their own, of course.

It is for this reason, I really don’t agree with recent comments made by Sex and the City‘s Cynthia Nixon (Miranda Hobbs) to The Radio Times. In the interview, Cynthia says she blames the HBO series for pressuring women into dressing in a certain way – the high-heeled, SATC way. She says that Carrie Bradshaw actress Sarah Jessica Parker is often berated by her husband, Matthew Broderick, for the fashion trends she helped set. Apparently he is known to motion to women on the street, dressed like ‘Carries’, and pointedly tell his wife: ‘YOU did that!’.

‘I wish that women would understand – or understand more – that it’s a fictional TV show,’ Cynthia explains. ‘No one should be expected to walk around looking like that in life – other than on the red carpet!’

I can see Cynthia’s point. There’s pure disbelief there, that a TV show should be taken so seriously that it ends up impacting almost an entire generation of women.

However, I’d like to argue that, no, the fact so many women chose to dress up Sex and the City-style is not the show’s fault. And that’s not because I’m a fan of the show myself; it’s because to blame women’s fashion choices on a TV programme is to suggest that women are not capable of making fashion choices for themselves. It’s to say us women are not aware of when we’re being influenced, and that we cannot make up our own minds as to whether we choose to or not to (literally) follow suit.

To agree with Cynthia, is to say that women are unconscious consumers. We just mindlessly following anything we feel remotely ‘pressured’ by…

IMHO, that’s rubbish – as I hope I have illustrated above. I didn’t dress up as a goth at 14 because I didn’t want to – peer pressure, be damned! In my 20s however, I did try to mimic SATC style (with the best that Topshop/H&M/Warehouse/Shellys and Office had to offer) because I very much did want to.

In both instances, it was about choice. And I will happily stand up for the fashion choices I made. Which means it makes me frustrated to hear that someone – Cynthia Nixon no less! – has claimed I was kowtowing to ‘pressure’. Truly, I wasn’t. I just really, really liked the trend.

As the recent parliamentary debate over the enforced unreasonable dress codes imposed on some women in the workplace has shown, sometimes women don’t have a choice as to what they can wear. But following the SATC trend was a choice (for most of us) and it especially was for me. And if it turns out in years to come, I look back and reflect it was a ‘What Were You Thinking?!’ one at that, I’m sure I’ll find a way to get over it.

DEALMEN

Week in Fashion: Dakota Johnson and Reese Witherspoon Are Ready for Spring

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The first day of spring was technically this week, but at times it was nearly impossible to tell. One day you could throw on a jacket and walk out the door, like Bella Hadid did on Tuesday. A few days later, it was time to return to an ankle-length coat like Laura Dern’s. L.A. residents fared better. Dakota Johnson was able to shed any type of outerwear, and Reese Witherspoon wore a floral, A-line dress for her birthday. See the range of this week’s weather-appropriate looks here.

DEAL MEN

 

Chatsworth House hosts fashion exhibition sponsored by Gucci

Derbyshire estate stakes its claim to be the most fashionable house in England with a show spanning five centuries of design and decadence

Eggs from Chatsworth House’s famed chickens were immortalised in oils by Lucian Freud. (Four Eggs on a Plate sold at Sothebys for £989,000 in 2015.) Now a new exhibition, which opens at the house on Saturday, lays claim to another title for Chatsworth: that of the most fashionable house in England.

“This is the most rock’n’roll place I have ever been,” said Alessandro Michele, designer of Gucci, taking his place as guest of honour at a lunch in the Chatsworth sculpture gallery.

House Style: Five Centuries of Fashion in England celebrates the heritage of the house in design and in decadence through the wardrobes of its occupants. These include Bess of Hardwick, the most powerful woman in 16th-century England after the queen; 18th-century It girl Georgiana Cavendish, wife of the 5th duke, who was immortalised by Keira Knightley in the film The Duchess; the Mitford sisters; and the supermodel Stella Tennant, granddaughter of the 11th duchess.

A house is an unusual protagonist for a fashion exhibition, but Chatsworth has always loved to dress up. A costumed ball held in 1897 attracted royalty from all over Europe, and enthusiasm among the guests for the dress code of “pre-1815 costume” was such that the great couture house of Worth, overwhelmed with requests, was forced to close its order books months before the event. Lavish costumes from the party include a replica outfit of Jean de Dinteville from Holbein’s painting The Ambassadors, which was worn by Victor Cavendish, later the 9th duke.

Debo, the late Dowager Duchess of Devonshire and one of the Mitford sisters, who died in 2014, was photographed by Bruce Weber in 1995 feeding her beloved chickens in a red satin Balmain gown. Also on display are personalised baskets made for Debo by her friend Hubert de Givenchy for shopping expeditions in nearby Bakewell.

“I certainly tidy up a bit when I come here, and I suspect I’m not the only person to do so,” said Laura Burlington, a former fashion editor and the wife of the heir to Chatsworth. Included in the exhibition are a pair of well-worn Converse high-top trainers which the 11th duke liked to wear on holiday, painstakingly whitened after each outing by his valet.

Debo was an inspiration to Oscar de la Renta, Burlington was a stylist for Roland Mouret, and Chatsworth is now muse to Gucci. An unlikely romance between the Italian fashion powerhouse and Derbyshire’s picture-postcard stately home began when Michele chose Chatsworth as the location for a Gucci campaign starring Vanessa Redgrave, and was hosted overnight in the bedroom where Queen Victoria once stayed.

“The room has the most beautiful view of the park, and is decorated in cherry-red velvet,” Michele recalled. “I came downstairs for breakfast in my slippers, and everywhere around me were images of flowers and of animals, the same symbols that I love. I felt at home here.”

Gucci sponsorship has amplified what began as a passion project forBurlington and curator Hamish Bowles into “the most ambitious exhibition ever seen at Chatsworth”, said Stoker Cavendish, the 12th duke.

The ultra-modern gender-fluid aesthetic of Gucci might seem an odd fit with Chatsworth, where the 30 state rooms are a symbol of a bygone age, but the house has always encouraged unconventionality. When Adele Astaire, the sister and dance partner of Fred, came to Chatsworth to meet her in-laws-to-be and found the family lined up formally to greet her, she broke the ice with a series of cartwheels. (“They loved her after that,” said Bowles.)

Chatsworth has always had “an inability to think small”, he added. A cabinet of Georgiana’s bills are evidence of astonishing extravagance: one month’s worth of invoices from her jeweller include a diamond necklace for £525 and another in topaz for £25, sums which in 1799 represented a vast outlay. A huge number of Georgiana’s bills remained unpaid on her death.

The exhibition mines seams of unexpected synergy between the dressing-up box treasures of Chatsworth and the contemporary aesthetic of Gucci. Snakes, a Gucci emblem, are a recurring theme, emblazoned on 19th-century gold jewellery and 20th-century cricket caps. “I think serpents and beautiful animals represent ultimate power in nature,” said Michele, “and the power of symbols is something this family has always understood very well.”

Burlington hoped that visitors to the exhibition “will appreciate the exceptional work of so many tailors, milliners, jewellers, liverymakers and lacemakers and they will enjoy the stories that these clothes tell about this family”. Meanwhile, her father-in-law, the 12th duke, welcomed his guests to a lunch at which local Bakewell tart took pride of place.

He said: “The pieces in this exhibition could be in the Met, or the V&A, but they are here in Derbyshire. One thing I’m hoping you’ll all learn today is that Derbyshire is really quite easy to get to, and terribly beautiful when you get here, so please come again.”

DEALMAN