Princess Diana's bold request was the one thing her designer refused: ‘You are a princess'
Princess Diana was ready to put royal protocol to the test to prove she was a 'free woman.'
The late Princess of Wales is the subject of the upcoming 'Princess Diana's Style & A Royal Collection' auction, which takes place on June 26 in Los Angeles.
It will feature some of fashion designer Jacques Azagury's design illustrations for Diana, and fabric swatches from some of her famous dresses.
'It feels wonderful [to keep her memory alive],' Azagury, who helped Diana revamp her style during her final years, told Fox News Digital during a private preview at The Peninsula Residences London. 'Anything that I can do that's going to carry on the legacy of the princess, I will always do it… It's a way of keeping her alive really.'
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Azagury said he met Diana in 1985 when he was showing his new collection in London.
They were introduced by Anna Harvey, deputy editor of British Vogue.
6 The late Princess of Wales is the subject of the upcoming 'Princess Diana's Style & A Royal Collection' auction.
Tim Graham Photo Library via Getty Images
'She immediately put me at ease,' he described. 'She had this amazing ability to make you feel completely at ease in no time.'
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In return, Azagury would help Diana step out of her shell.
'In her later years, Diana embraced this sexier, sleeker look, which was my aim,' he explained.
'My aim was really to just get her out of all these frills and… frumpy skirts that she was wearing at the beginning. As her life was developing, she had to be on the international stage, and it was my job to make her fit there. Gradually, I simplified and simplified her right to the end until there wasn't really that much dress. It was more about the princess and the fit of the dress.'
6 Azagury said he met Diana in 1985 when he was showing his new collection in London.
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According to reports, British royals are subject to strict fashion rules. And as the wife of the future king, Diana was expected to follow them. But as her marriage publicly crumbled, Diana was ready to send a new message using her style.
One of the most iconic looks was 'The Revenge Dress,' a slinky little black dress that she wore in 1994, on the same night that her ex-husband, the former Prince Charles, confessed his infidelity on national television.
Reports claimed that Diana owned the Christina Stambolian design for three years, but never wore it until then because it was too daring.
Charles and Diana separated in 1992. Their divorce was finalized in 1996. And it was during the '90s that Azagury created 'The Famous Five,' a collection of dresses that showed Diana in a new light.
'This is a period when you see the Diana that we all loved, where she was feeling free from her marriage,' said Azagury.
6 Charles and Diana separated in 1992. Their divorce was finalized in 1996.
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'It was her new life starting. She was fit, she was training. She looked phenomenal, and these dresses were saying exactly what she wanted to say, that she was a free woman. She could wear what she wanted to wear. She moved away from royal protocol with the length of the dresses. It was kind of a rebellion, but not a rebellion. But it was her way of telling people that she's her own woman.'
But Azagury admitted he wasn't prepared for Diana's bold fashion request.
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'[She surprised me] only once,' he said. 'She wanted to go super short on the dresses, and we wouldn't allow it, particularly on that blue ['Swan Lake' dress from June 1997]. It was quite a low décolletage and quite short anyway, and she wanted to go even shorter. We just said, 'Look, you're not going to have a dress left and you are a princess. We've got to remember you're a princess.' So it was way short anyway, so that's really the only request we would not abide by.'
Azagury said that one of Diana's favorite colors to wear was black, which, for the royals, is typically reserved for mourning. But the princess, who was thriving during the era of supermodels, wore several pieces by Azagury that were low-cut, figure-hugging, and showcased her bare, lean arms. Her 'Venice' dress from 1995 was a bright red silk two-piece featuring a short skirt. The 1997 'Washington' dress featured a deep V cut in the back.
6 'This is a period when you see the Diana that we all loved, where she was feeling free from her marriage,' said Azagury.
Tim Graham Photo Library via Getty Images
'After Diana's marriage, she portrayed herself in a slightly different manner,' Azagury explained. 'She had total freedom… She could wear what she wanted to wear. She was able to wear black, which she's usually not allowed to wear because royals only wear black for funerals.'
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'So the minute she was away from that, the first dress we made for her… was a black dress we made for her after the Martin Bashir interview… a black sexy dress,' he shared. 'That was her way of saying, 'This is me, this is the new me. I'm confident.' And it had all of those things in that one dress. She treated the dresses like that all the way through.'
And as one of the most photographed women in the world, there was no room for error, Azagury stressed.
6 '[She surprised me] only once,' he said. 'She wanted to go super short on the dresses, and we wouldn't allow it.'
'As a designer, my main thing was to make sure that every single little thing on the dress was perfect,' he said. 'She was stepping out of her shell, and she would have 500 photographers surrounding her, so everything had to be perfect, even though the dresses were very, very simple.'
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'It took a lot of work to get everything immaculate, and that was my job,' he said. 'We never had any mishaps at all. We just didn't want to end up in a circle of shame with a bit of something sticking out. So really, it was my job to make sure that everything was perfect for her.'
Azagury created what royal watchers have coined the 'Final Goodbye' dress. It was a full-length black dress highlighting a plunging neckline, thin straps and a high front slit. Diana was fitted for it in London just before she flew to Paris.
'I think it might've been for a Disney premiere, so we wanted to make it more wow than the other dresses and make it really Hollywood red carpet,' said Azagury. 'All that had to be done was to [adjust] the straps. Sadly, she never got back to wear it.'
6 Azagury created what royal watchers have coined the 'Final Goodbye' dress.
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But her legacy lives on, he said.
'The princess is still indirectly affecting fashion, affecting the other royals,' said Azagury. 'Of course, anytime that Kate wears something that possibly remotely looks like something Diana wore… it always gets compared in the newspapers. So, she's still there.'
'In a way, the dresses that she wore at the time, yes, they were fashions of the time, but they were timeless pieces,' he reflected. 'Any of the dresses that I made, for instance, could be worn today, and they wouldn't look out of place. There's something to say about her dress sense… it went quite deep.'
The auction 'Princess Diana's Style & A Royal Collection' by Julien's Auctions kicks off June 26 at The Peninsula Beverly Hills.
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Los Angeles Times
an hour ago
- Los Angeles Times
‘And Just Like That' is finished. We discuss the good, the bad, the pie and the poop
'And Just Like That,' it's over. Earlier this month, showrunner Michael Patrick King informed the world that the long-awaited, highly anticipated and then almost universally hated sequel to HBO's groundbreaking series 'Sex and the City' would end. Mere weeks later, it did just that and rather abruptly, with two Thanksgiving-themed episodes, which felt a bit odd in these dog days of summer. But at least it allowed the writers to box up and tie off all the various storylines as if they were the medley of pies Carrie (Sarah Jessica Parker) picks up and delivers to all her friends during the show's finale. If you think those pies denote happiness, you would be right. The main feast at Miranda's (Cynthia Nixon) apartment falls far short of perfection — loads of no-shows, the appearance of chef Brady's (Niall Cunningham) passive-aggressive baby mama, an undercooked turkey and a toilet disaster — but in the end, every character is left wallowing in peace and satisfaction. Miranda lowers her defenses enough to tell Joy (Dolly Wells) that she is a recovering alcoholic, to which Joy responds with deep understanding. Prostate cancer survivor Harry (Evan Handler) becomes fully, er, functional again and in the afterglow, Charlotte (Kristin Davis) finally surrenders the girly expectations she once had for her nonbinary daughter Rock (Alexa Swinton). After fleeting concern that her crunchy gardener lover Adam (Logan Marshall-Green) doesn't believe in big weddings or even marriage, Seema (Sarita Choudhury) accepts that true, and committed, love comes in all shapes and sizes. As do Anthony (Mario Cantone) and Giuseppe (Sebastiano Pigazzi). Whether Lisa's (Nicole Ari Parker) renewed devotion to husband Herbert (Christopher Jackson) counts as a happy ending is open to debate, but at least he seems to be letting go of his 'humiliating' loss in the New York City comptroller race. As for Carrie, well, after her renewed romance with Aidan (John Corbett) became blighted by mistrust, she had a lovely brief affair with Duncan (Jonathan Cake), the British biographer living in the basement of her townhouse. But in the end, she decides, via the novel that served as this season's voice-over, that life in a fabulous Manhattan apartment with a closet that looks like it was shipped from 'The Devil Wears Prada' costume department and a group of fine faithful friends (including a cantankerous baker who allows her to order pies long past the pie-ordering deadline), does not require a man to be complete. Culture critic Mary McNamara, staff writer Yvonne Villarreal and television editor Maira Garcia compare notes on the end of one of the most discussed, if not beloved, reboots in television history. Mary McNamara: When I wrote about 'And Just Like That' a month ago, I expressed my hope that Season 3 would be the last, so I feel nothing but relief (though had I known the universe was in listening mode, I would have also mentioned wanting to win the lottery and a few other things). I am not worried, as others appear to be, about the legacy of 'Sex and the City,' which is all around us in series as disparate as 'Broad City,' 'Fleabag' and 'Insecure.' Nor do I think that the failure of 'And Just Like That' has anything to do with the current political climate or the rise of the trad wife or whatever hot takes seem handy. It was simply and consistently a very bad TV show. I tuned in initially because, like many, I was excited to see how these characters were coping with late middle-age life — by apparently not experiencing menopause for one thing (an early indication that female authenticity had fallen by the wayside) or developing any sort of interior life. Real crises — Carrie losing Big and 'dealing' with Aidan's troubled son, Miranda discovering her queerness and alcoholism, Charlotte struggling to cope with her daughter's gender fluidity and her husband's cancer — were treated performatively, as plot twists to underline, apparently, the resilience of each character and the core friendship. Not a bad objective, but the hurdles, which increasing felt like a whiteboard checklist (podcasts! pronouns! prostate cancer!), came and went so fast they quickly became laughable (and not in the comedic sense), culminating with Lisa's father dying twice. I kept watching, as many did, not because I loved hating it, but because there was a good show in there somewhere and I kept waiting for it to emerge. When it didn't — well, the Thanksgiving/pie finale was a bit much — I honestly didn't care how it ended, as long as it did. Maira Garcia: Mary, after you wrote your column, I decided to take a break from the show because it summarized some of my frustrations with the reboot that seemed to come to a head this season — Aidan's unrealistic expectations for his relationship with Carrie, the perfunctory way it addressed ADHD, the lack of rugs on Carrie's floors. Of course my break didn't last long because I caught up and now I'm here wondering what it was all about and what it could have been. While the line from King and Parker is that this season felt like a good place for the show to end, based on the number of developing storylines, like Brady becoming a father, I have a very hard time believing it. But the problem of how to fix this show was too big — it was better that they ended on this chapter (whether or not that decision was made by them). I think like many viewers, I just wanted to enjoy spending some time with these ladies again at a later stage in life after a couple of decades with them through reruns and the films. But this was something else and while the addition of new characters seemed well-intentioned, they either lacked dimension, meaty storylines or were plain annoying (ahem, Che) — except for Seema. I love Seema. Please get Sarita Choudhury a spinoff. Yvonne Villarreal: Uh, is it sad that I'm sad? I know, I know. But, look, I feel like the girl who cried 'Che?!' too many times and now it's real and it's like I've been mentally placed in that insane DIY mini foyer of Carrie's old apartment trying to emotionally find my way out. Like you, Mary, I've been frustrated endlessly by the series and have long felt like it needed to be put out of its misery, but I still dutifully watched every episode with a weird mix of enthusiasm and dread — and the community that grew (in my TikTok algorithm and in my group texts) from that shared experience was oddly one of the bright spots. So for HBO Max to call my bluff by actually ending it still feels like a breakup as flabbergasting — albeit, necessary — as Berger's Post-it note peace-out. I came in ready to approach this stage of my relationship to these characters the same way I approach the friendships I've maintained the longest — excited to catch up once our schedules aligned, trying to fill in the blanks from the long absence caused by life, but still recognizing the foundation of who they are and how they're choosing to navigate life's curveballs. But with each passing episode, it always seemed like I was at the wrong table, perplexed and trying not to be rude with all the 'But why?' questions. Miranda's quote from this week's finale, as she took in the most bizarre Thanksgiving dinner television has ever put onscreen, felt like the epilogue to my experience watching it all: 'I'm not sure exactly what's happening now, but let's all take a breath.' I will mourn the potential of what this series could have been. Like Carrie's playful tiptoe stride through the streets in heels, the show pranced around topics that, had it walked through them with intention, would have given the series traces of its former self. That friend moment between Seema and Carrie outside the hair salon in Season 2 — where the former is reluctantly but bravely expressing that she feels like she's being dropped now that Aidan is back in the picture — was such a genuine peek at the vulnerability between friends that so many of us valued from the original series. And that moment from this week's finale, where the women are gathered at a bridal runway show, sharing their varying feelings on marriage at this stage in their life — I just wanted to shout, 'MICHAEL PATRICK KING, this is what I wanted more of!' Though, I would have preferred if they were around a table, looking at each other as they shared and unpacked. I wanted an extended scene of that, not Carrie ordering pies! I don't like to be teased with goodness. And that's how it often felt. Also, I know it's a comedy, although the decision to lean into the sitcom style of humor remains perplexing (Harry and Charlotte, I'm looking at you), but I felt like there was a way to explore grief — the death of Mr. Big and Stanford, plus the strain on the group's friendship with Samantha — in a way that felt truer to the characters and the style of the show. Heck, even Miranda's drinking problem was squandered. I feel like the loss of a spouse (through death, divorce or emotional distance), the fading out of friendships and reconsideration of lifestyle habits are the most talked-about topics in my friend group at this stage in my life — sometimes the convos happen while we're huddled around a Chili's triple dipper, which is as bleak and real as it gets. And I'm sorry, but if I were to use one of those outings, when I'm in my mid-50s, to tell them an ex wants me to wait five years while he focuses on being a toxic parent before we can really be together, they'd slap me with a fried mozzarella stick — I will never forgive the writers for how lobotomized these characters feel. Mary and Maira, how did you feel about how the show handled its biggest absences? The show began in such a different place than where it ends — did it evolve in the right direction? Where did it go right for you? McNamara: Oh Yvonne, you are so much kinder than I am. I never felt it was going right — the writers seemed so determined to prove that women in their 50s aren't boring that they constantly forced them into all manner of absurd situations without much thought for what kind of actual women these characters might have become. Age was represented mostly by bizarre, grannified reactions to younger folk and their strange ways (up until the finale, which gave us that baby mama and her buddy Epcot), as if the women (and the writers) had been kept in a shoe box for 20 years. Looking back, the lack of Samantha, and Cattrall, feels like a deal-breaker. For all her campy affectations, Samantha was always the most grounded of the characters, able to cut to the heart of things with a witty line, biting comment or just a simple truth. Seema, and Choudhury, did her best to fill that void, but she never got quite enough room to work — her relationship was almost exclusively with Carrie for one thing and Carrie was, even more than in 'Sex and the City,' the driving force of the show. I agree that grief was given very short shrift, and the fact that no one seemed to miss Samantha very much, or be in touch with her at all (beyond the few exchanges with Carrie) was both bizarre and a shame — coping with the loss of a dear friend, through misunderstanding or distance, is a rich topic and one that many people deal with. As for the resurrection of Aidan, well, who thought that was going to work? Especially when it became clear that the writers thought it made perfect sense to keep Carrie and Aidan's children separate — so unbelievable, and demeaning to both characters. Carrie's final 'revelation' that a woman doesn't need a man to be happy would have had a much more meaningful resonance if Carrie had been allowed to explore her grief, fear, frustration and hope beyond a few platitude-laden conversations and that god-awful novel. Which, quite honestly, was the funniest thing about this season. When her agent went bananas over it, I literally walked out of the room. Garcia: Samantha, and Cattrall in turn, were sorely missed. And you're right, Mary, Seema filled some of that void, and you really need that connection across the different characters. Which leads me to my biggest gripe: Why did some characters feel so distant? Lisa's storyline this season was so disconnected from the rest — it seemed like she was with the core group only in passing. And it happened with Nya (Karen Pittman), who disappeared after Season 2, though that had to do with scheduling conflicts. As far as its evolution, I was glad to see the podcast group, with its overbearing members, whittled away — though we had to deal with Che for another season. Those overbearing characters kept getting replaced with other overbearing characters like Giuseppe's mother, played by Patti LuPone, and Brady's baby mama and her odd pals (if the writers were trying to get us to scratch our heads at Gen Z, they did it). While I'll miss being able to turn my brain off for an hour each week, along with the occasional shouts at my TV over some silly line or moment, I can't say I was satisfied in the end. At least when someone said or did something stupid in previous iterations of the show, it was acknowledged in a way that felt true the characters and there was some growth expressed. After the return of Aidan, I can't say that's true here. But now that we're at the end, I have to ask you both how this affects the SATC universe? Did this disrupt the canon? Was there something memorable you'll take away at least? A character, a moment, a ridiculously oversized piece of jewelry, hat or bag? Villarreal: Oh geez. There's no question — for me, at least — where this sequel falls in the SATC universe. The original series, even with its moments that didn't stand the test of time, will always be supreme; the first movie, while hardly perfect, gave us some memorable BFF moments — like Charlotte giving Big eye daggers after he left Carrie at the altar or Samantha feeding a heartbroken Carrie — that keep it in my rewatch rotation. I'd place 'And Just Like That …' after that, with the Abu Dhabi getaway movie dead last. What will I miss? For sure the fashion moments, especially the ones that broke my brain, like Carrie's Michelin Man snowstorm getup or her recent gingham headwear disaster that my former colleague Meredith Blake described as Strawberry Shortcake … and don't get me started on Lisa's jumbo balls of twine necklace. I'm curious, Mary, as someone who has watched your share of series finales, how you felt about this conclusion and whether it served that mission. This season had episodes that felt like wasted filler and didn't do much to move the plot forward. Last week's penultimate episode is what convinced me the wrapping up of this series was not planned. It was 28 minutes of huh? And what about Carrie's book? I would add it to my Kindle just out of curiosity. While I maybe would have seen all that's transpired as an opportunity for Carrie to write a memoir on love and loss à la Carole Radziwill, I did get a kick out of the excerpts from Carrie's take on a 19th century woman having an existential crisis. And look, maybe I'm schmaltzy, but I did sort of love the last line she tacked on in her epilogue: 'The woman realized, she was not alone — she was on her own.' Mary, are you judging me right now? I promise I didn't dance to Barry White's 'You're the First, the Last, My Everything' through the halls of my apartment after watching. But I would have loved more exploration of that thread sooner — I mean, aren't there studies about women being happier, or at least less stressed, later in life once their spouse dies? I believe it! It doesn't mean you can't have companionship in other ways. Anyway, what's the takeaway from what happened with this show? Hollywood isn't going to stop trying to find new life in established properties. So, what can be learned from what went wrong here? McNamara: Yvonne! I would never judge you! And the world would be a far better place if everyone danced around their domiciles more often. I think Carrie realizing that her life is full and happy without a partner is actually a perfect way to end this series. (She will certainly never want for romance — So. Much. Tulle.) I just wish it had felt less rushed and did not involve a weird giant plushie at a robot restaurant. Whatever sequence of events led to the final scene, I have to believe that was going to be Carrie's journey all along. I even liked the debate over the ending of her book — if only the book had not been so terrible! I will certainly miss marveling at Parker's Olympics-worthy ability to navigate nearly any surface in heels (and 'sell' outfits that seem more like Halloween costumes than style) as well as those rare conversations, like the one at the bridal show, that allowed a situation to be viewed from multiple points of view. As for the finale, it felt very much in keeping with the intention, if not the overall execution, of the series. I am not cold-hearted enough to want any of these characters to depart mid-crisis or accept less than a happy life. Sure, it was a bit pat, with everyone's story neatly boxed up like a Thanksgiving pie. But who doesn't like pie? Garcia: I love pie! But let's not forget, like the toilet that overflowed (with a few logs, to boot) in the final scenes, too much of something isn't always what we need. Villarreal: Is this a safe space to share that if the girls make up with Samantha/Cattrall in their 70s, I'll be ready for their return to my screen? Sorry, not sorry — I don't have time to set healthy boundaries with friendships that are no longer serving me.
New York Post
3 hours ago
- New York Post
Alex Jones' Infowars assets will be sold to pay over $1B in debts to Sandy Hook families: judge
Conspiracy theorist Alex Jones will have to sell his Infowars' assets to pay more than $1 billion he owes to the families of victims of the 2012 Sandy Hook Elementary School shooting, according to a Texas court ruling. A court-appointed receiver will be responsible for taking over and selling the assets of Infowars to pay off Jones' debts to Sandy Hook families, according to an order signed by Judge Maya Guerra Gamble in Austin on Wednesday. The order has the potential to shut Jones out of his studio in the coming days — forcing the conspiracy theorist to fork over the company's property, recording equipment, and brand name, the filing indicated. 3 A court-appointed receiver will be responsible for taking over and selling the assets of Infowars to pay off Jones's debts to Sandy Hook families. AP His debts amount to a whopping $1,288,139,555, according to court documents. The Wednesday ruling appeared to restart an effort by The Onion to buy Infowars and its assets to turn the platform into a parody site. 'We're working on it,' Ben Collins, chief executive of The Onion, said in a social media post Wednesday. Last year, the satirical outlet won a bankruptcy auction for Infowars, backed by Sandy Hook families. But a federal bankruptcy judge halted the sale in December of last year, criticizing the bidding process as flawed. 3 On his daily show on Thursday, Jones blasted the court order as improper, claiming he already has another studio set up in the event Infowars is shut down. AP On his daily show on Thursday, Jones blasted the court order as improper, claiming he already has another studio set up in the event Infowars is shut down. 'People want to hear this show,' said Jones, who is based in Austin. 'I will continue on with the network. They can harass me forever. … And they won't get me off the air,' he said. Relatives of the victims of the Sandy Hook shooting sued Jones in Connecticut Superior Court in 2018 after he spread the baseless claim that the massacre was a fabricated pretext to take Americans' guns. He was found guilty in 2022 for defamation after his false claims that the 2012 massacre, which killed 26 people, including 20 children, was a hoax. 3 The order also appeared to restart an effort by The Onion to buy Infowars and its assets to turn the platform into a parody site. Getty Images Mentally ill killer Adam Lanza, 20, used a Bushmaster AR-15-style rifle in his rampage, leading to widespread debate about gun control in the country. Lanza committed suicide after the massacre. Everytown for Gun Safety, a nonprofit committed to ending gun violence that was founded after the Sandy Hook shooting, previously said it would advertise on a relaunched version of the site under The Onion if the sale of the platform went through. 'Today's order brings us a critically important step closer to achieving the goal that the Connecticut families have spent years fighting for: holding Alex Jones accountable for years of harm,' Christopher Mattei, one of the lawyers for the families, said in a statement to the New York Times. A contact for Jones' attorney was not immediately available for comment. With Post wires
San Francisco Chronicle
3 hours ago
- San Francisco Chronicle
'The Traitors' is opening its doors to everyday people. Here's how you can join the TV competition
LOS ANGELES (AP) — The U.S. version of ' The Traitors ' has brought a group of public figures to a castle in the Scottish Highlands for a game of deceit, with hundreds of thousands of dollars up for grabs. Now, the Emmy award-winning competition will open its doors to everyday people. NBC is now casting for a civilian version of the popular Peacock series, the network announced Thursday. The competition reality series, an American spin-off to its British counterpart, had only cast celebrities for its first three seasons, the last of which aired early this year. The new version will bring a group of everyday people together to play what the host, Alan Cumming, called his 'treacherous game' in a video announcing the public casting. Cumming is set to host the new version as well, with production for the show starting in 2026, according to the network. Those who are interested in participating can apply now on the show's website. The fourth season of the celebrity version is set to launch next year, and a fifth season has already been confirmed. The star-studded cast for season 4, announced in June, includes reality stars from 'Love Island,' 'Big Brother' and 'Survivor.' 'We're thrilled to be working with NBC to open up the experience to a new group of civilian players, whose stories and strategies will make the gameplay even more unpredictable – and, we hope, even more addictive for viewers,' Stephen Lambert, CEO of Studio Lambert, the producers of both the Peacock and NBC versions, said in a statement. The show features a group of contestants who participate in a murder mystery game similar to Clue or Mafia. A subset of the cast are secretly labeled as traitors and must work together to eliminate the other contestants, who are considered faithfuls. On the line is a prize fund worth up to $250,000. If the faithful manage to eliminate all the traitors, then they share the money. But, if a traitor makes it to the end, they take it all. The British version uses the same location and has used civilian contestants from the start. Casting everyday people will allow complete strangers to meet for the first time, a 'unique opportunity' that 'will be an incredible watch,' said Sharon Vuong, the executive vice president of unscripted programming at NBCUniversal Entertainment. "This new version for NBC offers a unique opportunity for the cast and audience to meet each other for the first time and we know it will be incredible to watch,' Vuong said in a statement. The psychological adventure has found reality TV gold, and its third season premiered as the No. 1 unscripted series in the U.S., according to a release by NBC. The show also recently received five Emmy nominations for season three and previously took home two of the awards for season two.
