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Remembering LaTisha Chong, the Beloved Hair Stylist Behind Serena Williams’s Iconic Cover

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Paloma Elsesser, mannequin: “LaTisha had a sharpness for element and perfectionism and a laser focus for how one can get issues accomplished. She was one of many first individuals who I felt a stage of safety from once I was on set together with her. She actually noticed me with out me having to specific my wants, she may choose up on once I was feeling afraid, or once I wanted that little further assist and he or she knew what tune to placed on to gasoline me up. And that’s simply the methods by which she touched each single particular person’s life. She cherished so totally and totally. Once I had the chance to shoot my first American Vogue single lady story— and what does that imply? Who’re the those that I need round me who’re dedicated to making a legacy and pictures that final without end? I knew LaTisha wanted to be on it. We had labored collectively a bunch at that time, and he or she was a breath of contemporary air of artistry in the way in which she did hair, bringing within the historic Black hair data, which is so missing, but in addition the artfulness and the extent of critique. She confirmed me what a dedication to craft was, like she was nonetheless aiding earlier than she went out on her personal, as a result of she [felt] she nonetheless had extra to study. Little tokens of humility, but in addition her confidence, that’s such a testomony to her humanity. I really feel actually fortunate and privileged to have recognized her.”

Telfar Clemens, designer: “We met as youngsters principally, simply hanging out, and thru her sister Afesha, who used to do my hair. Once we had been constructing a hair workforce, engaged on reveals and stuff, I reached out to Afesha and he or she was like, ‘I’ve a sister that does hair professionally,’ so from then on LaTisha began doing my hair, and he or she began working in my workforce and doing all people else’s hair after which she turned my hair director. We went all around the world collectively, that’s who was with me for this whole European stint that Telfar did, and for our New York Fashion Week concert she [did] all people. For every present we might principally provide you with hairstyles collectively and there can be no distinction between what I drew and what we did [in the end]; it was precisely what I assumed it could be. I simply keep in mind us having this era and—there’s so many intervals that I can’t choose a favourite as a result of all of them are actually so vital in the place we went hair-wise. And naturally I bought to have the hair earlier than the fashions would! Her spirit was unmatched, like probably the most actual one who will actually let you know how it’s, not how another person has informed her it needs to be, you already know? And that’s why we labored collectively and I valued no matter she mentioned as a result of it was true, like no one’s placing her up for it, there’s no ulterior motive of like, eager to do one thing since you wanna do it, it was a real expertise.We had been like household.”

Picture: Alessandro Lucioni / Gorunway.com

Picture: Alessandro Lucioni / Gorunway.com

Picture: Alessandro Lucioni / Gorunway.com

Daybreak Sterling, nail artist: “LaTisha was a perfectionist, she was a genius and he or she was very actual and uncooked. Her son had a celebration perhaps per week earlier than the Vogue cowl shoot and once I bought there with my daughter she was on the bowling alley, plucking the wigs for Serena. She was not capable of speak that a lot, her voice was gone, and he or she couldn’t actually stroll, however she had her bag, her tweezers, and he or she was plucking for pricey fucking life and I used to be identical to, this lady is so iconic! She was so comfortable and searching ahead for all of us — me, Raisa, Gab— like simply being a part of this second with Serena, as a result of we’re like a household. She was a nurturer and a giver. She labored actually onerous on the day of the shoot, it was a really difficult day, and he or she did probably the most wonderful job and Serena was so affected person and wonderful together with her. And he or she appears stunning. She’s the pal that wished everybody round her to be the very best that they could possibly be. She wished all people to win. She wished all people to be the very best, and I simply cherished her for that.”

Raisa Flowers, make-up artist: “We met on set in 2018. She requested to borrow my tweezers after which misplaced them a couple of minutes later. She was in a rush attempting to get everybody’s hair accomplished however she additionally needed to go to work, she was nonetheless working in Michelle’s hair salon in Brooklyn. However then she gave me the cash for my tweezers and I used to be [taken aback]. We met once more on one other shoot and we had been within the trailer collectively and hastily our birthdays got here up in dialog and our birthdays had been a day aside. And that to me is tremendous particular, ’trigger once I discover somebody with my signal, I all the time sort of glue to them as a result of we’ve got so many similarities. After that, we bought actually shut. She began doing my hair and I used to be like, rattling this particular person’s actually good like she must be doing larger shoots, however she didn’t need to depart the store as a result of she’s very loyal and he or she didn’t need to disappoint the [owner]. Once I would get hit up for a shoot, I’d be like, ‘oh, do you guys have hair? It’s best to try this hair stylist LaTisha.’ So we began to work collectively rather a lot, and it could simply be excessive spirits. I noticed how a lot she inspired folks and he or she wished to place love and lightweight into folks’s lives. And he or she labored with individuals who actually cherished her and actually pushed her to be this wonderful star, like she was working with Ian Isiah and Jeremy O. Harris.

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Vogue World – Snap on AR Filters

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“Vogue World: New York is a celebration of all the ways in which fashion is changing,” says Vogue creative editorial director Mark Guiducci. “It comes at a moment when designers have become multidisciplinary creators, innovating how we engage with fashion — even virtually.”

The goal is to take “an age-old brand story and tell it through brand new technology,” says Resh Sidhu, global director of Arcadia, Snap’s creative studio for branded AR. Vogue and Snap will promote the Vogue World event via two lenses inspired by and branded Vogue that can be used worldwide: “A New Stage”, inspired by the Vogue around the World runway, allows people to bring versions of the staging to their own environment, while “Lit Up” enables selfies that “reflect the runway” through a virtual glow based on the sunset and moonrise.

Vogue World and Technology integration

AR try-on has become increasingly popular in fashion and beauty. Brands began by testing makeup and face filters , before graduating to items like shoes and watches. Big names including Gucci, Burberry, Farfetch and Prada have tested shoppable AR try-on, and Snap has worked to position itself as a go-to partner for the industry’s AR endeavors. In June, British Vogue brought a Snapchat experience to Cannes Lions that let visitors try on digital items from brands such as Versace and Dior.

Brands have also tested Snap’s ability to add a “digital layer” to the world around us, as Snap global product lead in AR Carolina Arguelles Navas has said to Vogue Business, through enhancements such as in-store augmentations (such as Nike’s AR archives experience with “artefacts” unlocked via QR codes) or delivering a stack of Louis Vuitton luggage cases.

As physical fashion weeks reconvene in global cities, pop-ups and shows such as AR platform Zero10’s digital retail store in New York and AR fashion artist Doddz’s digital in-person show, are expected to take advantage of improvements in AR technology. The Vogue World experience, for example, uses Snap’s ground and sky segmentation technology, and Snap recently made its try-on tech available to external apps and developers in a bid to deepen relationships with brands and retailers. The experience has has been likened to watching en vogue on a different world. Snap has been a clear leader in using AR for social commerce, and now sees more than 6 billion AR Lens plays daily. As of Snap’s Q1 2022, more than 250 million people used Snap’s AR shopping lenses every day on average.

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Kate Spade New York Spring 2023 Ready-to-Wear Collection

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Kate Spade New York was launched in January 1993, as a joint venture between then soon-to-be-married couple Kate and Andy Spade. She was a Mademoiselle accessories editor-turned designer, he was a copywriter; their take on fashion might be called “editorial.” The brand has always had a voice and wink-wink sense of humor, coupled with purpose. The rectangular, nylon Sam bag that brought the company such renown responded to a gap in the market for something affordable and functional, but chic. It wasn’t long before Kate Spade New York became a lifestyle brand known for sophistication, wit, and color.

Tapestry, Inc. acquired the brand in 2017, and days ago revealed the names of its latest creative directors, industry veterans Tom Mora and Jennifer Lyu. The duo staged their debut presentation at Three World Trade Center and the magnificent view underlined the brand’s association with the city. The set and the collection referenced nature. Surrounded by a verdant “lawn,” models braved a shower that was carefully designed to fall next to, rather than on them.

Color and charm were the takeaways here. Lyu’s childrens’ bath toy was one of the inspirations for a cloud bag with fringes of rain that couldn’t be more Instagram friendly, and was shown with a cardigan jacket and jeans. A lot of attention was paid to details and finishings, and outfits were cleverly conceived. A floral dress, for example, was paired with rain boots in a matching floral.

As Kate Spade New York is marking its 30th anniversary, and Mora and Lyu are building on the brand’s heritage, it makes sense that there was a retro feeling to the garments. 1950s and ’60s silhouettes predominated, adapted for today. This vision of femininity, however pretty, is also saccharine, somewhat stereotypical and assumes—despite the rainwear—a celebratory and blue-sky attitude, leaving little room for expressing a range of emotions.

But for those wishing to escape into an Instagram perfect world, this collection delivered in spades, as did the designers’ stated framework. “Our favorite adventures come when we least expect them. Like getting caught in the rain. Looked at one way, it’s a mishap. Another, a moment of sky-opening escape,” read the show notes in part. Flexibility and the ability to see things from different perspectives are qualities sorely lacking in the world right now. They are what Kate and Andy Spade brought to the brand decades ago, and Mora and Lyu aim to bring forward today, rain or shine.

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Proenza Schouler Spring 2023 Ready-to-Wear Collection

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There’s a 20th anniversary in the Proenza Schouler designers’ imminent future. New York fashion’s perennial It boys Jack McCollough and Lazaro Hernandez have been around the block a few times; these days they’re the establishment and a new generation of young talents are vying for the It boy title. How fast that happens!

Arca, the trans musician from Venezuela, opened their show in a loose black tank whose hem was pulled over one shoulder, revealing white silk fringe over her bare midriff and a bubble skirt. From there McCollough and Hernandez explored Latin flourishes, like flamenco ruffles peeking from the hems of generously cut bell bottoms, polka dots of varying sizes decorating twist-front dresses, and piped bell sleeves that extend past the knees. In the past, they’ve tended to cite travel adventures or their tight circle of girlfriends as influences. But after the show, Hernandez wanted to talk about his roots. “I leaned into my Latin identity, I’m Cuban,” he said. That tight circle of friends is going to like these pieces a lot.

The models wore their hair slicked back wet and their skin was dewy. They looked as if they just stepped off a dance floor or climbed out of the sea. With videos of waterfalls projected onto the marble walls of the venue and an ASMR triggering soundtrack to match, the collection felt closer to nature than last season’s. Crochet separates, nipple-freeing sheer lace shirts and dresses, and compact knit pieces that seemed to take their cues from swimwear looked like the work of designers who’d like to hold on to a summer feeling for as long as they can—a relatable instinct on this busy September Friday.

“We’re just talking about the idea of energy, of joy, of sensuality, these things that sometimes we feel are lost in our lives, to be honest, and we’re trying to find a way to get them back,” McCollough said. Twenty years is no small milestone. How do you sustain energy and joy when you’ve been at something that long? McCollough and Hernandez tapped into it this season by working with a community of weavers in Bolivia. “We did it all via email and conversations over the phone,” Hernandez related. “We were able to make four pieces with them and employ them for six months. They were so happy.” But you know who sounded really happy? He did.

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Fendi Resort 2023 Collection | Vogue

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It’s been years since New York has seen a fashion production as big as tonight’s Fendi show. Kim Jones and Silvia Venturini Fendi came to town to mark a milestone, the 25th anniversary of the Italian label’s Baguette bag—a bag, said Venturini Fendi, “that does what fashion should do: bring pleasure to people”—and they threw quite a party. The Hammerstein Ballroom was transformed with soft beige carpet and curtain, the rough edges of the rock venue all but buffed away. In the front row, Kim Kardashian, Sarah Jessica Parker, and Naomi Watts held down one end of the bench, and Kate Moss, Shalom Harlow, and Amber Valletta the other. What Grace Jones was doing in the second row is anyone’s guess. Then, of course, there’s what happened on the runway itself.

First, though, a word on the New York connection. Sex & the City made the Baguette famous. “It was almost like a character,” Jones said at a preview. “So I thought let’s do the show here, and let’s add in a few curveballs as we always do.” That Jones is a prodigious collaborator has been well documented, but the match-ups he orchestrated this season were particularly inspired. Tiffany & Co., an LVMH brand like Fendi, was brought in to provide the baguettes—as in diamond baguettes. The double-F logo on the Tiffany blue croc Baguette carried by Bella Hadid was pavéd in the precious stones.

Marc Jacobs and Jones go back to their days together at Louis Vuitton, where Jacobs was something of a serial collaborator himself—see Stephen Sprouse, Takashi Murakami, Richard Prince, and Yayoi Kusama—and anyway who is New Yorkier than him? Jacobs’s section riffed on his recent collections with block letter intarsias spelling out FendiRoma rather than his own logo on everything from tracksuits and trucker jackets and matching jeans to an oversize terry robe.

“I called Marc up and asked him if he wanted to design a collection for Fendi. I haven’t been involved at all,” Jones explained. “We worked side by side during fittings. We were doing ours, he was doing his. I’m looking very much at 1997 and I think Mark’s is fresh and now.” Google results for Fendi’s collections from 1997 don’t yield many overlaps between that year and today. Jones was after more of a feeling. “I was thinking about when I was first coming to New York and we would go out clubbing,” he said. Hence the irreverent, high/low mix of sequins and utility jackets, or a shearling sherpa and a mini. He meant what he said about utility. Even beanies and gaiters came with built-in Baguettes, as did many of the garments, those shearling sherpas most temptingly.

For the kicker, Linda Evangelista, who is the current face of Fendi, glided out, resplendent in a Tiffany blue opera cape, with a sterling silver Baguette bag in the crook of her arm. Jacobs, who joined Jones and Venturini Fendi for a bow, encouraged everyone to stand up—not that the crowd needed any convincing.

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Collina Strada Spring 2023 Ready-to-Wear

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Collina Strada Spring 2023 Ready-to-Wear

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Theory Spring 2023 Ready-to-Wear Collection

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To the tune of “California Dreaming,” Jeffrey Kalinsky, formerly of iconic retail emporium Jeffrey, appeared on the runway, decked out in jeans and a button down, with a sweater tied in a very editorial way around his chest. With a Britney Spears-style head-mic, Kalinsky began speaking to the crowd gathered on the first grey and rainy day New York City had seen in months. “This is one of the most joyous things I’ve ever had the privilege to do,” he began. “I love the word classic, and I love the word modern, and to create modern classic clothing, I think is the greatest thing you can do. It’s timeless, it’s ageless, it’s polished, it has integrity, and unfortunately… it will stay in your closet too long.” The crowd laughed; a relaxed and easygoing mood was quickly established as the essence of the new Theory.

A Theory collection is a Theory collection is a Theory collection, but there were definite signs that this was a new vision at the label. Boxy jackets came with pre-rolled sleeves so that anyone can just put them on and have them fit the exact right way; dresses with easy A-line silhouettes and truly gorgeous ballerina necklines were elegant without leaving behind a sense of subtle sex appeal. Kalinsky called out the coach jacket as “one of the most important silhouettes.” It appeared in a variety of colors and fabrics, each imbued with a different mood. In one of the opening looks, he showed it in bonded satin worn with a cropped top and micro shorts, later on it appeared in carnation pink nylon, worn over a matching carnation pink shirtdress but in cotton, as well as in a color he called blue iris but was definitely edging closer to purple. The saturated color palette was specific—carnation pink, ruby red, white, cream and black—and packed a big punch in the simple silhouettes, especially the low-rise, double pleated, wide legged trousers. Those were made from a material that Kalinsky kept charmingly referring to as “good wool” and were very much of the moment. They’d look equally good paired with a shrunken T-shirt or with Theory’s signature button down shirt.

“For me color is very intuitive,” Kalinsky said after the show. “I’ve been obsessed with hot pink for a few years, and when I started at Theory, I knew right away that I wanted to infuse it into the collection. We built the rest of the color palette around the carnation pink, adding in blue iris, red grenadine, and bright orange alongside beautiful neutrals.” The pieces made in bonded satin seemed to capture his ideal for the modern Theory woman the best, especially the black slip dress with a perfect rounded neck and a below-the-knee length. It’s exactly the kind of dress that would enjoy a long, fruitful life in any woman’s closet.

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No Sesso Spring 2023 Ready-to-Wear

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No Sesso Spring 2023 Ready-to-Wear

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Simon Miller Spring 2023 Ready-to-Wear Collection

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Welcome to Simon Miller Island. Here you can delve into the dreamt-up world of Chelsea Hansford, where models are on a natural sugar high, wearing candy wrapper heels, swirling taffy prints on their cotton cover-ups, and carrying coconut flake-inspired bags. “I imagined what a candy village would be like on Simon Miller Island. Everything was inspired by the textures of tropical, natural candies and candy wrappers,” said Hansford in her collection presentation space.

Hansford is no stranger to creating an It item. Her bubble clogs and disco drop earrings are some of her most popular pieces. And this season, she has beach-ready versions of those items with the new bubble wedge and coral necklaces. But Hansford is also ready to create an It clothing piece for her brand. “We are seeing a tremendous amount of success with our logo tanks,” she said. “It’s like an opening price point, but just fun and lively. So I went hard on developing a more sophisticated logo series of knitwear. It’s universal, but still has a very cool logo on it.” The hard work seems to be paying off. Gigi Hadid just wore a red version of the new knit set to the US Open, helping to blow it up on social media as the next must-have from the brand.

With her upcoming nuptials on her mind, Hansford created her first ever bridal look. Inspired by vermicelli noodles and licorice, she made a wedding dress fit for a bride getting married on Simon Miller Island (Hansford wore the mini version during the presentation). As for the groom, he can wear the reversible satin souvenir jacket, just as her fiancé did.

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A.P.C. Spring 2023 Menswear

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A.P.C. Spring 2023 Menswear

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Raquel Allegra Spring 2023 Ready-to-Wear Collection

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“Yes, I grew up in Berkley—I’m a hippie at heart,” Raquel Allegra says, by way of justifying the inspiration for her spring collection. Zooming in from her studio in California, she says, “I don’t know if anyone in the room there has had an experience that has shifted their mind and shifted the way they look at the world through having a relationship with ancient plants.” The world of psychedelics and mycelium is certainly having a moment—it’s been referenced at Stella McCartney and Alexander McQueen in recent seasons—but Allegra’s take was uniquely her own. Specifically, she was thinking about beauty: “What’s the lens through which we perceive what we’re looking at?” For this collection, the lens is “love, color, and comfort.”

The color and comfort parts have always been key principles in Allegra’s collections, and most of it felt familiar: dip-dye dresses in shades of pink and yellow like a sunset or blues like the inside of a wave; patchwork sweaters with “overlapping globes of color”; and raw edges. A caftan in Allegra’s signature tie-dye, in shades of yellow and mustard, was a youthful take on the trend, with its kangaroo pocket and contrasting fabric. She also brought back the technique of creating prints on embossed fabrics, as in the shirtdress with swirls of greens and blues and reds like watercolors dissipating in a cup of water; they were overlaid over a jacquard pattern that resembled earth formations and worn like a robe over a matching T-shirt and leggings.

The watercolor motif was also present on a splatter-print suit whose print was actually Raquel Allegra’s name blown up into oversized proportions. “I’ve always struggled with the idea of wearing a logo,” she says. “To me, it needed to mean something. A name can mean something, obviously, but also it felt important to say something more than just the name or initials. I scrawled my name in really big writing, and then I dipped my hands in the ink, and I had this really fun afternoon of exploration with ink on the fabric. That was a way that I felt comfortable putting a logo on our garment.” She also created a monogram out of her initials, whose shape resembles a snake eating its own tail (“it represents the continued flow of the life cycle”), that showed up on the sleeve of a striped shirt dip-dyed in black and worn with matching trousers and a tie (also embroidered with her monogram). They seemed a little out of place in a collection full of breezy, color-drenched dresses and skirts, but it made sense to the designer.

“What’s really important to me about the way we put the collection together is that it not just be one thing—you know, we’re dynamic,” she says. “To me [the model in that look is] a rock star. When I go to shows and I see someone on the stage that is expressing themselves, like pure creativity, to me that is also godly.” She adds, “There’s godliness to being in your specific purpose.” And Raquel Allegra would be the first one to tell you she’s found hers.

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