Marc Jacobs's Latest Show Proved That Sometimes, Bigger Is Better
The beauty of a Marc Jacobs show lies in his ability to choose. Will he wipe last season's slate and begin anew? Or will he continue to percolate on design ideas and see how far he can push them? This evening was a combination of both. True to his word, the show began at 7:30 P.M. sharp. By 7:36, 19 looks later, it felt like it had all been a dream.
It's no secret that Jacobs has played with proportion and dimension over his past few collections. His models often look doll-like, their exaggerated silhouettes and cartoonish beauty frozen in time like a high-fashion Flat Stanley. This season, those ideas expanded—quite literally—offering further iterations of these bulbous shapes through round, pinup-like silhouettes, plumply padded hips, boxy drop waistlines, and vacuously large puffed shoulders. The haunting aura of these twisted bodies was emphasized by music that can only be described as the ambience to an abandoned antique doll house.
Via both material and styling, there was a noticeable added element of destruction that pointed towards a more punk-rock attitude, even within the still-picturesque silhouettes. Where his previous collection felt like a study in dressing classic American icons, this one was more like its rebellious younger sibling who grew up all too fascinated with the spooky eccentricities of A Series of Unfortunate Events.
In true punk fashion, Victorian and romantic silhouettes were constructed, twisted, and then undone before our very eyes. The necklines were high; the heels were higher. Bows were blown up (in case anyone thought the motif had gone away), lace was erratically layered over undergarments, and pearls were draped across a bullet bra-esque bustier.
What this season offers is a master class in deconstruction, as Jacobs has now portrayed two sides of the same doll-like coin. All that's left is for you to choose.
Alexandra Hildreth is the Fashion News Editor at ELLE. She is fascinated by style trends, industry news, shake-ups, and The Real Housewives. Previously, she attended the University of St Andrews in Scotland. Following graduation, she moved back to New York City and worked as a freelance journalist and producer.
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Boston Globe
24 minutes ago
- Boston Globe
Yo-Yo Ma and friends anchor a Tanglewood weekend of music forged in unprecedented times
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He then scratched out Bonaparte's name with such force that he tore a hole in the manuscript. Advertisement On its own, that story neatly slots into the narrative of Beethoven as a cantankerous but high-minded son of the Enlightenment. But Ax offered another possibility that could cast that outburst in a different light — that the symphony may have remained 'Bonaparte' if the Little Corporal had been willing to pay him for it. The discussion circled an unspoken and unanswered question: Because Beethoven lived and worked during a period of intense political upheaval in Europe, might there be any wisdom for our time hidden in the 'Eroica,' akin to the guidance Richardson excels at distilling from the annals of American history? The three danced around the topic without touching it. Ma at one point said that 'the young people will go further than the alte kakers (Yiddish for 'old farts') like me.' Perhaps, if there is any wisdom for our current moment in the 'Eroica,' it comes from the inspiration individuals might take from it, not anything encoded in the score. If the 'Eroica' took shape in turbulent and violent times, so too did the two completely unrelated pieces the BSO performed on Saturday evening with conductor Elim Chan, Korngold's Violin Concerto and Rachmaninoff's Symphony No. 2. The Austria-born Korngold had been hailed as a wunderkind, the 20th century's answer to Mozart. Then, the Nazi takeover of his home country spurred him to relocate his family to Los Angeles, where he was already working on movie scores. Rachmaninoff penned the Symphony No. 2 in Dresden, Germany, where he'd relocated – resigning his post at the Bolshoi Theatre – to escape both the pressure of celebrity and the rumblings of the coming Russian Revolution. Advertisement It was the first time the BSO had ever performed the Korngold concerto, perhaps an oversight from the time when 'sounds like film music' was a much greater insult. The concerto doesn't just sound like film music; it incorporates themes from several films Korngold worked on, all of them keen and exquisite. Kavakos seemed to be a few hairs out of tune with the orchestra; passages that might otherwise have resounded with celestial consonance instead bristled with friction. But one can rely on Kavakos for two things, and the first of those is symbiosis with the orchestra. He's a true master at playing with an ensemble, not just in front of one. He took cues from the orchestra and Chan's agile and lush treatment of the music, and the ensemble in turn responded to what he played, adding extra zing or crunch to certain phrases to echo him. The tuning issues had mellowed out to an interesting pungence of tone by the third movement as well, and the final movement was a thrilling, high-energy caper. The other thing one can usually rely on him for is a sublime Bach encore, and he delivered that too. After intermission, Chan led the orchestra in a tremendous and sweeping performance of Rachmaninoff's Symphony No. 2, which featured (among other things) a heartstopping clarinet solo in the slow third movement from William Hudgins Never could anything with words convey pure love so clearly. Elim Chan, in her Tanglewood debut, gave the music agile and lush treatment. Hilary Scott/BSO Traffic was backed up on all roads leading to Tanglewood for the following afternoon's all-Beethoven program with Ma, Ax, Kavakos and Tamestit. The first three have been playing as a piano trio with some regularity for a handful of years, but have not formed an official ensemble; they're recognizable enough on their own that they surely don't need to. Tamestit collaborated with them at Tanglewood in 2022 during a series Ax curated, and at the time I noticed the similarities between the violist's warm sound and Ma's. In the two pieces Sunday afternoon that featured him, which were both orchestral transcriptions, he seemed to be the special sauce that bridged Kavakos's tart, papery sound and Ma's genial richness. Together, the three instruments alchemized into something larger than the sum of twelve strings, while Ax's muscular command of the piano (and transcriber Shai Wosner's keen ear for arrangements) laid an unshakable foundation. Advertisement The 'Leonore' Overture No. 3, usually a forgettable orchestral chestnut, fairly exploded with vitality. Tanglewood Music Center fellow Raul Orellana delivered a clean offstage trumpet solo, and the piano quartet beckoned him on stage to congratulate and introduce him afterwards. The Trio No. 4 in B flat allowed Ax more delicacy, with the responsibility of representing entire orchestral sections no longer on his shoulders. Here also, Ma and Kavakos were attuned to one another, responding and building on the other's input. Does the 'Eroica' pack the same punch without a full symphony orchestra behind it? No, but they're not playing in the same weight class. Wosner's transcription was written for Ma, Ax, Kavakos, and whichever guest violist they have (if you're reading this, guys: just make your nameless trio a quartet with Tamestit) and though the sonic power might not have been as overwhelming, it was playful in a way that full orchestras rarely explore. Beethoven's dynamic contrasts are often extreme – in Ax and Ma's conversation Saturday, they compared it to a film cutting away from a car crash to a completely unrelated scene – and without the large ensemble's sonic palette to work with, the musicians brought the drama of 'Eroica' by way of accents and variations, never playing anything the same way twice. Take the second repetition of the second movement's funereal melody, which usually belongs to the oboe; Ax transferred that to the piano, and each note was as smooth and discrete as pebbles in a cairn. Rather than try to mimic the oboe, he played it as only a pianist could. Advertisement BOSTON SYMPHONY ORCHESTRA / YO-YO MA, EMANUEL AX, LEONIDAS KAVAKOS, AND ANTOINE TAMESTIT Tanglewood, Lenox. Aug. 2 & 3. A.Z. Madonna can be reached at
Yahoo
32 minutes ago
- Yahoo
Celebrity Cruises reveals the face of its newest cruise ship
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Eater
an hour ago
- Eater
Thai Diner Opens a Chicken Finger and Tropical Drink Hangout
There has not been a chicken finger that New Yorkers have clawed for since the first Raising Cane's landed two years ago in Manhattan, now with several other outposts. Mommy Pai's — located at 203 Mott Street, at Kenmare Street, in Nolita — is hatching at just the right moment and has all the makings for success. That's because the new Thai chicken finger takeout counter — opening on Friday, August 8 — comes from Ann Redding and Matt Danzer, behind Thai Diner, blending what their other restaurant does best: creative comfort food with a Thai twist. Only this time, it's a fast food operation, serving out of a takeout-only window down the street. Jutharat Pinyodoonyachet 'Honestly, Gray's Papaya really inspired me — that salty little something with the tropical fruit drink,' says Redding. As the name would suggest, her mother, Ampai, is also the mascot. 'The way she took food we ate in the States and made it her way,' like memories of her mother ordering fried chicken at Roy Rogers and tweaking it by making lettuce wraps from the fixins bar. Mommy Pai's intends to replicate that feeling: It serves chicken fingers (grilled or fried) in flavors like lemongrass, coconut, or Muay Thai, with garlic, soy, fish sauce, and coriander. Choose from eight sauces, like the Heavenly BBQ (capturing the flavors of the Thai beef jerky known as heavenly beef), or the noom green sauce. Make it a combo set, with the choice of Mommy Cakes, a Thai play on Johnny cakes, som tum slaw, and waffle fries. Plus, slurp a tropical drink in flavors like pineapple-basil, tamarind, and mango-coconut. On the sandwich side there's Filet O'Tofu, with nam prik noom, American cheese, mayo, scallion, cilantro and pickled cucumber; the Jungle Queen, with a smashed chicken thigh patty with fermented bamboo, green chile relish, American cheese; or the Mommy Royale, choice of chicken or tofu with American cheese, pickled greens, and 'special sauce.' Jutharat Pinyodoonyachet For dessert, find Thai tea and condensed milk twist soft serve, and mini taro tapioca doughnuts with pandan sangkaya custard. 'The sleeper hits are the sides, I could make a meal just out of that,' says Danzer, pointing to the garlic chive and tapioca dumplings. Meanwhile, the curry puff mozzarella sticks have been 'polarizing' amongst early tastetesters. 'I'm curious what the people have to say about it,' says Redding. Jutharat Pinyodoonyachet Building off Thai Diner's success, focusing on chicken fingers seems exactly in their wheelhouse. And yes, they're being purposeful in calling it a chicken finger, not tender, since they're using chicken thighs ('more juicy and flavorful,' says Danzer). Still, it's also a lot of pressure to rework a beloved American childhood favorite. 'We're on the version we're calling '32' of our dredges,' says Redding of recipe testing. 'You know, you're tasting it, and then you start to get insecure and suddenly we're ordering chicken from everywhere, tasting theirs, being like, I think we're okay… yeah, we're okay!' Jutharat Pinyodoonyachet Jutharat Pinyodoonyachet It's a full circle moment: About a decade ago, the couple signed a lease at 203 Mott Street with the initial intent of opening a chicken-themed offshoot to their Michelin-starred uber-hit Thai restaurant, Uncle Boons, around the corner. In the end, they put that dream on hold and pivoted. In 2016, they debuted Mr. Donahue's, an American diner — 'still my favorite art project,' says Redding — at the address that received two stars from the New York Times. But running a restaurant with just 12 seats didn't math and it closed a year later. In 2017, the couple rebranded the space as Uncle Boons Sister, a fast-casual restaurant with dine-in seating, but it, like its senior sibling, Uncle Boons shut down during COVID. Fans mourned. For the past five years, 203 Mott Street has served as commissary headquarters for Thai Diner's desserts (they're known in particular for their sentient monster cakes), leaving fans wondering if Redding and Danzer would ever reopen the space to the public. All these years later, the LLC is still chicken-related: Ready, when they were. Jutharat Pinyodoonyachet Today's dining landscape makes more sense for a takeout-only operation. The exterior has been rebuilt to reference Thai wood homes and the feeling of food stalls. Even with the limited square footage, every detail is collaged with cheeky, personal details to their family story. Order at the counter and grab a seat outside or take it to-go in one of their custom boxes, designed by Ann's sister, May, who does all of the visual identities for their restaurants, down the can for their custom beer. An image of Mommy Pai greets diners on a lit-up menu screen with playful long fingers. May photographed Ampai in nostalgic, colorful outfits, images then transformed into oil-painted portraits by the artist Khun Ott, known for Thai movie posters circa the 1970s. Eventually, Mommy Pai's will offer delivery. 'Every time we do an opening, we try and be smarter. In the past, it's been too much too fast, so we want to take our time to get it right,' says Redding. Even after several restaurants, 'It never gets easier!' she says. Especially, when they have the Thai Diner fanbase, with the kind of sustained turnout that few restaurants maintain after their initial launch season. No doubt, customers will sniff out Mommy Pai's and follow the smell of coconut just down the street.
