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The Eerie Meaning Behind Princess Diana's Funeral Dress Revealed Decades After Her Death

The Eerie Meaning Behind Princess Diana's Funeral Dress Revealed Decades After Her Death

Yahoo5 days ago
Princess Diana and Gianni Versace's friendship marked a significant shift from her royal days to cementing herself as a fashion icon. However, both celebrities' lives were marked by tragedy.
Diana and Gianni Versace met in 1985 at Milan's Teatro alla Scala, but didn't form a bond until she was free from her divorce from Charles. 'Over the next several years, Gianni gradually became one of her favorite designers, although she often made him remove the gaudy medusas and overwrought details he piled on his clothes,' Deborah Ball wrote in her book House of Versace. 'He gave her first pick of his couture collection and designed pieces exclusively for her that were classic but had a pinch of glamour.'
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In this time, Diana became more affiliated with more bold looks that were different from what the Firm had expected. She became closer to the designer when he dressed her for the 1997 Vanity Fair cover. 'I had a fitting with her last week for new suits and clothing for spring, and she is so serene,' the fashion designer said. 'It is a moment in her life, I think, when she's found herself – the way she wants to live.' The pair would often get dinner with another close friend, Elton John. The 'Benny and the Jets' singer reportedly had a closet said to contain every Versace shirt made. 'Gianni Versace is an aesthete,' the Princess wrote in the forward of Rock & Royalty. 'In search of the essence of beauty, which he captures with grace and ease.'In 1996, Gianni Versace was killed by serial killer Andrew Cunanan at his residence in Miami. A week later, Diana wore a sleek black Versace look for the funeral. More specifically, the autumn/winter 1997 shift dress was paired with pearls and the Dior Diana bag. Sabai Lubnow, curator of The Gianni Versace Retrospective at The Arches in London Bridge, said, 'That bag was never called the Diana bag by Gianni. The same with the so-called Bondage collection; Gianni called it Miss S&M. But these names come from collectors, fans, people who wear and love the pieces. That's where the connection sticks.'
'Do you think they'll do that to me?' she said, according to her former bodyguard Lee Sansum the following morning after Versace's death. Six weeks after the funeral, Diana died in a car crash following a paparazzi chase in Paris alongside her lover Dodi Fayed and their driver Henri Paul. Her appearance at the funeral had only been a portent of her tragic death.
Diana and Elton John had a brief falling out, but later was brought together by their friend's death. 'Gianni Versace was murdered, and then Diana rang me up and we reconciled,' John recalled on Lorraine in 2018. 'And six weeks later, I'm in the same house, and she's dead. It was an extraordinary and mesmerising summer, and I just couldn't believe what was going on.'
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Staff Picks: A historical fiction podcast, and a drummer gone too soon
Staff Picks: A historical fiction podcast, and a drummer gone too soon

Yahoo

time10 hours ago

  • Yahoo

Staff Picks: A historical fiction podcast, and a drummer gone too soon

This week in Staff Picks, TV Editor Tim Lowery lauds The Ponys' Nathan Jerde and Staff Writer William Hughes goes along for the ride when Mike Duncan's Revolutions swerves into fiction. Tim Lowery: The Ponys' Nathan Jerde One of my favorite drummers to watch back in the day—and by that, I specifically mean 2007 to 2010—was Nathan Jerde of The Ponys. Jerde passed away in May, prompting a few texts with friends and a lot of memories from that period in my life, of seeing the Chicago garage-rock outfit play that city's best venue, the Empty Bottle, on Halloween, all dressed as pro wrestlers (and surrounded by bright tape fashioned to look like the ropes of a ring); hit a big stage on a lovely summer day at the Pitchfork Music Festival in Union Park (following Deerhunter, if I'm not mistaken); and then perform in Brooklyn shortly after I had moved to there and was and feeling a tad homesick. Jerde had a way of keeping his head down a lot as he played, popping it up, his hair slicked with sweat, every so often—during less busy or fill-heavy parts, say, or when the band was kicking into a new song. He always looked in the zone and was one of those drummers from that era (like The Walkmen's Matt Barrick) that was just so infectious and fun to witness, the kind that made you want to give the instrument a go. He was also a key, propulsive ingredient to a truly great band that also included frontman-guitarist Jered Gummere, bassist Melissa Elias, and guitarist Ian Adams (who was replaced by Brian Case, the future leader of Disappears, when he left). The Ponys came out with some killer seven inches and three LPs: Laced With Romance, the most exciting sounding and punchy of the bunch; Celebration Castle, an occasionally moodier but still frenetic release that was recorded by Steve Albini in four days; and Turn The Lights Out, which marked the band's move from the fantastic garage-rock label In The Red to indie stalwart Matador and feels a bit wider in scope, with a few new tricks thrown in. Honestly, if you don't know this band and would like to hear what made their alchemy special, just play these records all the way through. But if I had to pick a track from each album that highlights Jerde's skills, I'd go with (in chronological order): 'Little Friends' (those snare hits!), 'Shadow Box' (those returns to the hi-hat!), 'Small Talk' (that beat that helps keep a four-minute-plus song that's only three chords from ever getting boring!). But my favorite drumming from him—and my favorite Ponys song, period—isn't on any of their LPs: 'I Wanna Fuck You' (the narrative is sweeter than the title implies), which you can listen to above. I love the drum fills on this track—and go back to it often. In May, the outfit wrote the following to break the sad news: 'Nathan was an amazing drummer and possessed savant-like art skills. Nathan loved goofing around and had the sweetest of hearts. We traveled the world together. We ate amazing meals together and we met lifelong friends together. We fought like brothers sometimes, but we had so much fucking fun together. Nathan, we will miss you so much!' R.I.P. William Hughes: Mike Duncan's 'The Martian Revolution' I'll confess to being extremely skeptical when Mike Duncan—creator, writer, and star of my favorite history podcast, Revolutions—announced that he was taking the show into the world of speculative fiction. After all, part of what I love about Duncan's work is the way he blends the relatable and the reliable; he'd be the first to encourage his listeners to check their own sources, and draw their own conclusions, about the tumultuous, highly contested arcs of history that he covers in long-form, entertaining, only occasionally depressing detail. (Ranging from the English Revolution of the 1640s through the Russian Revolution of the 20th century; if you, like me, were only familiar with the French Revolution as a series of cultural signifiers—or of the Haitian Revolution as a name and not much else—you could have much worse primers than Duncan's highly approachable, meticulously researched prose.) I trust Duncan, as both a historian and a storyteller. Hearing that he was taking the show into the realm of fiction, with a season covering a fictitious political revolution on Mars, though? It worried me enough that I spent months putting the new season of the show off. So it is with the zeal of the fresh convert that I arrive here to tell you Duncan's 'The Martian Revolution'—which he has now completed, having delivered it serially from October of last year up through this recent June—is some of my favorite 'historical' fiction I've imbibed in some time. Drawing on years of researching the ways humanity tends to blow up its own political orders—and, perhaps, pulling from just a smidge of other influences—Duncan crafts a story about distant colonists going into revolt against an oppressive Earth regime that feels genuinely authentic to the currents of history. (Also: Exciting, funny, and sad. Pour one out for Mabel Dore.) Once I got over my reservations and began to binge, I got caught up on 'The Martian Revolution' quickly—and then got to enjoy each week of cliffhangers as Duncan, surprisingly great at delivering a deadpan, slightly fictionalized version of his regular authorial voice, spooled out his story with the same attention to detail he'd previously devoted to actual facts. It's kind of shocking how easy the show was to accept as semi-fact, even discounting occasional meta flourishes. (Duncan is quick to handwave that his entire narrative hinges on Mars producing a scientifically insane super-fuel that makes its continual mining absolutely vital to human society—just one of many ways the show adapts well-observed historical forces to the stars.) And the whole thing is shot through with the same slightly weary irony that has made Revolutions regular listening for me for years: An acknowledgement that we do these things to ourselves—and likely will continue to, from now into the far future. More from A.V. Club The biggest news (so far) from San Diego Comic-Con 2025 What's on TV this week—Chief Of War and Eyes Of Wakanda R.I.P. Tom Lehrer, mathematician and musical satirist Solve the daily Crossword

Pedro Pascal Explains Why He'll Never Shave Again After This Film: 'I Was Appalled'
Pedro Pascal Explains Why He'll Never Shave Again After This Film: 'I Was Appalled'

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time14 hours ago

  • Buzz Feed

Pedro Pascal Explains Why He'll Never Shave Again After This Film: 'I Was Appalled'

We may all know and love Pedro Pascal as the internet's favourite incredibly charming moustached man, but there's one role that the Fantastic Four star says made him swear off the clean-shaven look forever – Wonder Woman 1984. The 50-year-old's facial hair is a key part of his trademark look but when he took on the part of television-personality-turned-villain Maxwell Lord in Patty Jenkin's 2020 clean-shaven sequel, the star was required to shave the lot off. In an interview with LADbible, alongside his Marvel co-star Vanessa Kirby, he was asked which was sexier, moustaches or beards. 'I grow such s*** facial hair,' Pedro commented. 'I were to shave it all off, I really look very [awful]. Strongly disagree with a clean-shaven me. 'I was so appalled by the way I look in Wonder Woman 1984. I loved the movie, but I was so appalled by the way that I looked that I never have gone back unless it were completely necessary. 'If they asked me to be clean-shaven for , and insisted, then I would've done it. But it was a very collaborative creation for all of our looks in the movie.' Fortunately for Pedro (and let's be real, for us too), he wasn't required to reach for the razor for the role of Reed Richards – although some Marvel fans weren't happy with the Mandalorian actor's casting. 'I'm more aware of disgruntlement around my casting than anything I've ever done,' he previously told Vanity Fair. 'He's too old. He's not right. He needs to shave,' Pascal said, sharing the swathes of online complaints surrounding his latest role. While the movie hits UK cinemas this week, it's been confirmed that the quartet will also be appearing among the all-star cast of Avengers: Doomsday MCU on screen for the first time.

Duke and Duchess of Westminster ‘thrilled' as they welcome first child
Duke and Duchess of Westminster ‘thrilled' as they welcome first child

Yahoo

time16 hours ago

  • Yahoo

Duke and Duchess of Westminster ‘thrilled' as they welcome first child

The Duke and Duchess of Westminster have announced the birth of their first child. Billionaire aristocrat Hugh Grosvenor and his wife Olivia, who married last year, have welcomed a baby girl born in London on Sunday, named Cosima Florence Grosvenor. 'The Duke and Duchess of Westminster are thrilled to announce the birth of their baby daughter,' a spokesperson for the couple said. 'Both the duchess and Cosima are doing well. 'The duke and duchess now look forward to spending this special time together as a family.' The duke, one of the UK's biggest landowners, is a close friend of both the Prince of Wales and the Duke of Sussex, and godfather to Prince George and also reportedly to Prince Archie. William acted as an usher at his wedding in Chester Cathedral in June last year but Harry mutually agreed with the groom he would not attend amid his long-running rift with his brother. Hugh, once considered one of the country's most eligible bachelors, became an instant billionaire when he inherited his title and control of the historic Grosvenor Estate aged 25, following the death of his father from a heart attack in 2016. His property company, Grosvenor Group, owns hundreds of acres of land in Mayfair and Belgravia, as well as major city centre developments such as Liverpool's One shopping centre. In 2020, the duke donated £12.5 million to the UK's Covid-19 relief effort including funds for NHS Charities Together and for medical research and development.

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