
Dior shows Maria Grazia Chiuri's cruise collection in Rome
Guests sat under transparent umbrellas as models marched past on a gravel walkway lined with hedges. They paraded sheer gowns covered with lacework, textured dresses with rows of ruffles and long, tailored coats - mostly in white, ivory and nude colors. A sharp-shouldered trench coat, military jackets and tailcoats over skirts brought contrast to the airy looks, as did a few dresses in red or black velvet.
After the show, Chiuri rounded the gardens for her bow as the audience stood, cheering and clapping, while mist rose from the gardens.
The catwalk presentation, which drew on references to Italian cinema and theatre, follows last week's cruise fashion show from Louis Vuitton, another LVMH-owned label, in Avignon, France.
The shows come as the luxury industry grapples with a prolonged slump in business, and a number of high-end fashion labels are seeking new creative direction to reignite interest from shoppers.
Over the last five years, Chiuri has established herself as a groundbreaking leader, blending activism, craftsmanship, and innovation to redefine the brand's identity. Since taking the helm in 2016, Chiuri has championed feminism and social justice through her collections, making Dior a platform for powerful messages.
Dior shows Maria Grazia Chiuri's cruise collection in Rome
Her 2019 'We Should All Be Feminists' T-shirts became an instant icon, sparking global conversations about gender equality. Subsequent seasons incorporated slogans, symbolic motifs, and references to female empowerment, turning runway shows into potent statements. Chiuri's respect for Dior's heritage is evident in her reinterpretation of classic silhouettes, emphasizing artisanal techniques and sustainable practices. She has prioritized eco-friendly materials and collaborations that promote ethical production, aligning luxury with responsibility.
Her partnerships with contemporary artists and activists, including Judy Chicago, have expanded Dior's cultural impact, fostering dialogue around gender, identity, and creativity. These efforts have garnered widespread praise for authenticity and influence.
The 2025 show, held in Paris, marked a significant milestone. It showcased a daring new direction—mixing couture craftsmanship with futuristic design elements. Incorporating digital innovation and sustainable fabrics, the collection reflected Chiuri's commitment to modernity and environmental consciousness. Critics applauded the show for its boldness and relevance, emphasizing how Dior continues to evolve while maintaining its heritage.
As Dior advances under Chiuri's visionary leadership, her body of work exemplifies how fashion can be a catalyst for social change, blending tradition with contemporary activism. The 2025 show underscores her role as a transformative figure, shaping the future of luxury fashion rooted in purpose and innovation. —Reuters
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Observer
06-08-2025
- Observer
Iconic French chef stakes reputation on vegan menu
Paris - Celebrated French chef Alain Passard has made history once again. The 68-year-old has become the first three-Michelin-star chef in France to switch to an entirely plant-based menu, opening a new chapter in the world of luxury dining. Since July 21, Passard has stopped serving meat, fish, dairy products, and eggs at L'Arpege, his restaurant in the French capital's chic seventh district that he has run for nearly 40 years. The only exception is honey that comes from the restaurateur's beehives. Passard said the switch had been in the pipeline for a year. "There's light in this cuisine," he told AFP. "There are taste sensations that I've never experienced anywhere else." L'Arpege used to be known as one of the leading restaurants in Paris. It earned three Michelin stars in 1996 and has held the distinction ever since. In 2001, Passard caused a stir in the rarefied world of French cuisine by dropping red meat from his menu and saying he would focus more on vegetables grown in his gardens. The shift made him one of the first ambassadors of plant-based cuisine. While Passard is motivated by environmental concerns in his new quest, it is above all a culinary challenge. The restaurant's updated menu includes mesclun praline with roasted almonds and melon carpaccio. Lunch costs 260 euros. Passard has no plans to become a vegan militant himself. "I still eat a little poultry and fish," he said. "But I'm more comfortable with plants. They allow me to learn." - 'Colossal task' French chef Claire Vallee knows from experience that Passard is up for a challenge. "It requires a lot more preparation, knowledge, and research," Vallee said of plant-based dishes. "It's quite a colossal task." In 2021, her vegan restaurant in southwest France won a Michelin star, the first for an establishment serving only animal-free products in France. Vallee in 2016 launched ONA -- which stands for Origine Non Animale ("Non-Animal Origin") -- thanks to crowd-funding from supporters and a loan from a green bank. The establishment closed in 2022, and the 45-year-old chef went on to open several pop-up restaurants. Since then, no other French restaurant serving only animal-free products has been awarded a Michelin star. Internationally, vegan haute cuisine is rare. Eleven Madison Park in New York has kept its three stars after becoming exclusively vegan in 2021. In the Netherlands, De Nieuwe Winkel's plant-based menu has earned it two Michelin stars. Laurent Guez, a food critic for French newspaper Le Parisien and business daily Les Echos, said Passard's announcement was "a major event". But he also warned that not a lot of chefs could excel in the art of high-end plant-based gastronomy. "It's exceptional cuisine that not everyone can allow themselves to launch into," he said. Michelin guide international director Gwendal Poullennec said he was "delighted" with the transition at L'Arpege, describing it as a "positive approach". "We will continue to follow the evolution of L'Arpege, remaining faithful to our criteria," he told AFP. Passard has given himself two years to take his kitchen skills to a new level. Is he worried about losing his three stars? "I've never thought about that," he said. "We're going to have to deliver. If we can maintain this level of quality, then I'm extremely confident."


Observer
03-08-2025
- Observer
Ralph Lauren's Vintage Man of Mystery
For more than a quarter century, Doug Bihlmaier has held a mythic position in the world of men's fashion, especially among those who prize vintage style. Matt Hranek, the founder of the men's fashion magazine WM Brown, first heard about Bihlmaier in the mid-1990s. At the time, he noticed that Double RL, a Ralph Lauren spinoff brand, had the best versions of the vintage military clothing and watches he sought for his own collection. 'You'd say, 'Who finds this stuff?'' Hranek said. He soon learned of the man whose job sounded like a fantasy: he travelled the world on a Ralph Lauren corporate credit card to find and buy cool old stuff. One day, while waiting in line outside a vintage show, Hranek met the man himself — a shy, bearded figure in faded denim. From then on, whenever they spotted each other at fairs, Bihlmaier would smile beatifically and give Hranek the peace sign. 'It was like the pope putting up his hands', said Hranek, 58. 'For somebody like myself who really loved vintage, Doug was the benchmark of what to be looking for'. Though Bihlmaier remains largely unknown to the wider world, his profile has been rising in recent years, especially among young vintage collectors and online fashion influencers. TikTok creators proclaim him a 'low-key style savant' and regard him as the spirit, if not the uncredited architect, behind Double RL, whose Americana aesthetic has shaped trends. Cameron Ross Steiner, a 31-year-old podcaster, spent two years emailing Bihlmaier before persuading him to appear on his show, Collectors Gene and talk about his life's work. Bihlmaier, 71, lives in a funky cedar-shake house in a wooded part of East Hampton, New York, When he greeted me on a recent afternoon, he was dressed in baggy canvas shorts and a loose white T-shirt. His small dog, Ziggy, circled his bare feet. With his full beard and ponytail, he may look like an aging hippie or beach bum, but his life has been fairly conventional. He married his high school sweetheart, Kathy and they raised two daughters in Darien, Connecticut. Now they live in the Hamptons full time. As their home makes clear, Bihlmaier has collected not only for his employer, but for himself: the closets are stuffed with vintage chambrays, French work clothes, old flannels, distressed military leather jackets. In the bedroom, dozens of Navajo silver rings and bracelets were arranged on the dresser and the arm of a beat-up leather club chair was piled with early 20th-century Pendleton blankets. Native American rugs of an older vintage covered the floors. Such items are in high demand in today's vintage market, in part because Bihlmaier, through his work with Ralph Lauren, helped popularise them. On the patio over lunch, he talked about how he fell into his singular career. A bedroom at Doug Bihlmaier's home in East Hampton, N.Y., July 12, 2025. (Amir Hamja/The New York Times) He was born in Osborne, Kansas, a farming town. A great-uncle taught him to ride a horse, milk cows and feed chickens. Once a year, the family would drive four hours to Kansas City to go Christmas shopping. Like many boys in the 1950s and '60s, Bihlmaier liked to dress up as a cowboy. Even as a teenager, he noticed that the quality of the denim was slipping and he started buying up old pairs of Levi's. 'I loved wear and patina', he said. 'I loved my grandfather's old pickup rather than my father's new one'. His father, an insurance agent who became the owner of three small banks, was a sharp dresser. While Bihlmaier attended Kansas State University, his father arranged to get him a job at a local men's store, Woody's. Some of the clothes in the shop came from a young New York designer, Ralph Lauren. In the early 1970s, Bihlmaier was sent to the airport to pick up a sales representative from the label. The man stepped off the plane dressed in a brown corduroy suit, red plaid shirt with a yellow club tie and argyle socks. 'I'd been dressing in what I called my Neil Young look — old jeans and flannels', Bihlmaier said. 'I thought, 'Wow, I want to look like this guy''. In 1993, Lauren started Double RL, the brand named for his 'RRL' ranch in Colorado. It sold selvage denim, sportswear, accessories and an assortment of vintage pieces, a novel idea in fashion retail at the time. Originally, Double RL was tucked like a secret within the Ralph Lauren store on Madison Avenue. Bihlmaier was part of the team that gave the brand its identity. He installed new wooden floors that squeaked like old ones. 'It had to squeak on purpose', he said. To find the stuff to fill the showrooms and stores, he went on shopping excursions to the Brimfield Antique Flea Market in Brimfield, Massachusetts and the Rose Bowl Flea Market in Pasadena, California. The merchandise was plentiful and cheap. 'You'd find the coolest 1920s hunting coat for $20', Bihlmaier said. He worked with another Ralph Lauren employee, Bob Melet and the two of them would hit vintage fairs from Santa Fe to Paris like Vikings, only instead of swords and axes they had business cards and discerning eyes. 'If Doug and I walked into an antique venue, we could eviscerate a show as quickly and with quality as anyone', Melet said. Dealers gave them nicknames. 'They used to call Doug 'Eagle Eye' and me 'Wandering Eye'', Melet added. Bihlmaier, who speaks with deference and caution about his employer, said his taste and Lauren's were 'almost perfectly aligned'. He added that his boss taught him that when hunting, 'mint' wasn't the goal. Rather, scuffs, dents and age made a vintage item special. Lauren also trusted him. 'He told me, 'If you don't want it, I don't want it'', Bihlmaier said. Part of the legend of Bihlmaier is that he recognised the intrinsic style of certain items before others did, and mixed and layered them in novel ways. Hranek, the fashion editor, credits him with pairing American Western with vintage military, citing the combination of a turquoise silver watchband and a Waltham World War II watch — a look that Double RL merchandised. 'It looked as though he did it without effort', Hranek said. 'That is true talent'. — NYT


Observer
31-07-2025
- Observer
A Designer Was Ready for India's Fashion Moment
In June, Kartik Kumra was confronted, for the first time in his life, with a scrum of reporters. His brand, Kartik Research, had just made its runway debut at Paris Fashion Week, showcasing a collection of soft-edged clothing infused with the visual language of India. A pair of beige hand-spun pleated linen pants were spruced up with floral embroidery swirling around the ankle of one leg. And a black blazer was transformed with a flash of gold Banarasi silk peeking through the lapel. It just so happened that Kumra's show had taken place in the middle of a season in which India seemed to be on the mood board of the luxury fashion world. Prada sent models down its menswear runway in footwear that closely resembled Kolhapuri sandals. A few days later, at the Louis Vuitton menswear show, the brand's creative director, Pharrell Williams, re-created the ancient Indian game of Snakes and Ladders as a set for his show. After Kumra's show ended, the assembled reporters peppered him with questions. 'What did you think of the LV show?' he recalled them asking during a recent interview. 'What about the Prada show?' It became abundantly clear to Kumra, 25, that India's sartorial choices were being repackaged as trendy. And that his brand had found itself at the center of that moment. Even having a presence at Fashion Week, alongside what he called 'the big guys,' was once unthinkable for Kumra, who started his brand four years ago in his college dorm room as he studied economics at the University of Pennsylvania. At that time, he had no experience in fashion or design. But his brand's ability to reframe Indian crafts in the context of Western fashion has attracted a loyal — or, as Kumra described it, 'sticky' — following and prepared him for the mainstream spotlight. His work has been seen on Kendrick Lamar, Stephen Curry, Brad Pitt, Riz Ahmed, Lewis Hamilton and Paul Mescal. When the brand released a limited run of embroidered Converse sneakers in May, the shoes sold out almost immediately. In 2023, Kumra's brand was a semifinalist for the coveted LVMH Prize for Young Fashion Designers. Kartik Research is now stocked in 70 locations around the world, including Mr Porter and Selfridges. Next spring, it will arrive at Harrods in London. Kumra will also introduce a line of womenswear at Bergdorf Goodman in March. 'Next season, India is not going to be the reference for them,' he said, referring to companies like Prada and Louis Vuitton. 'But this is our thing. We built a business on it and we're going to keep doing it.' A few weeks after his show in Paris, at the brand's new brick-and-mortar store in the busy Dimes Square neighborhood in New York City, Kumra was manning the floor. In one corner stood a classic Indian straw daybed. On the wall, there was a painting of Hindu mythology. A live cricket match — India versus England — was streaming on his laptop. A single rack of clothes ran the length of the store. Each garment had made its way through an 'independent universe of small makers,' Kumra said. 'The real experts — the master embroiderers, weavers, printers.' Their work isn't scalable, nor can you find their phone numbers online. To work with them requires building on-the-ground relationships. A white shirt on the rack, for example, was handmade by a man in the state of Gujarat, using what is known as bhujodi weaving. That weaver noticed, during one of Kumra's visits to his workshop, that Kumra was wearing handloom denim pants. 'He was like, 'Oh, let me connect you to my handloom denim guys,'' Kumra said. 'And I went and visited them — they were a couple hours away — and now they make our denim pants.' Piece by piece, Kumra has built a network of artisans who aren't easily accessible. That gives Kumra a leg up on brands that parachute in and wax poetic about Indian craft for a season or two, said Julie Ragolia, a New York-based stylist and consultant who became a mentor to Kumra through a program called Mr Porter Futures. Kumra, who grew up in New Delhi, had a fervent interest in fashion and streetwear as a consumer long before conceiving Kartik Research. Through college and high school, he would resell sneakers. He admired the work of Dries Van Noten, and he was, like so many teenagers, a Supreme enthusiast. He also enjoyed sketching and doodling. When COVID shuttered universities in 2020, Kumra, who had an internship in finance lined up, decided instead to spend his free time in New Delhi putting together a business plan. His mother shuttled him around the country to meet with artisans. Some of the money he earned from reselling sneakers — roughly $5,000 — became the startup capital for what was then Karu MFG — 'karu' is the Sanskrit word for 'artisan,' and 'MFG' is short for 'manufacturing.' He cold-called factories and found one, on the brink of closing as a result of the pandemic, that agreed to create 22 garments for him. 'The look book cost 1,000 bucks — a friend shot it, and we got models for 200 bucks,' he said. 'The location was free, it was 10 minutes away from my house.' Kumra then jumped into the Discord channel of 'Throwing Fits,' a podcast for menswear enthusiasts, to share his designs and solicit feedback. 'I was just really blown away — this young guy was a fan of us, but when we saw his work we were becoming a fan of him,' said one of the podcast's hosts, Lawrence Schlossman. 'I actually remember my first piece of feedback was just like drop the MFG.' By the time Kumra returned to Philadelphia to finish his degree in 2022, he was running a full-blown business. A stylist messaged him one night about one of his cardigans: 'Yo, Kendrick's wearing it.' As in the Pulitzer Prize-winning rapper. That was the first time, in Kumra's recollection, that his friends realized he wasn't lying about having started a brand. As he builds Kartik Research, Kumra is not taking a salary. His mother still helps out, working on the finance and accounting side. It was just in the last year that Kumra hired two designers. In a cheeky acknowledgment of the heightened interest and momentum around Indian fashion, Kumra's own inspirations, and how, he said, work from there could one day be considered 'globally aspirational,' the Kartik Research show in Paris in June was accompanied with a look book. Its title? 'How to Make It in India.' —NYT