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Paris couture week opens with Cardi B holding a live crow at Schiaparelli's spectacle

Paris couture week opens with Cardi B holding a live crow at Schiaparelli's spectacle

Independent6 days ago
Paris couture week opened not with sequins or red carpet pageantry, but with a black-feathered omen. Cardi B, wrapped in a custom Schiaparelli gown of graphic fringe, stood beneath the gilded columns of the Petit Palais, holding a live crow on her arm. The bird squawked, glared, and nearly lunged — setting the tone for a show that soared straight into the surreal.
It was a fitting image for Schiaparelli. Elsa Schiaparelli, the house's founder, built her legend in the 1930s by weaving the unexpected —l obster dresses, shoe hats, and, yes, animals — into the heart of high fashion. That legacy pulsed through Daniel Roseberry's Fall 2025 collection, a spectacle in pure black and white, staged as if the city itself had been drained of color, leaving only stark contrast and raw emotion.
Inside, the mood was cinematic — sharp tailoring, sweeping gowns, hints of disco sheen flickering like film across the runway. But if the house has been criticized in the past for relying on extreme corsetry and body manipulation, this season marked a shift. Roseberry, perhaps heeding the critics, abandoned his signature corset silhouette. In its place: a freer, more elastic exploration of the body, echoing Schiaparelli's own restless spirit.
Roseberry said the collection was inspired by the moment in 1940, when Elsa Schiaparelli fled Nazi-occupied Paris for New York — a period 'when life and art was on the precipice: to the sunset of elegance, and to the end of the world as we knew it.'
Here, that tension was alive in every look: archival codes reimagined, but with a restless push toward the future. Dresses undulated like car bodies, hips arced in impossibly engineered shapes, ribbons from antique Lyon couture fluttered as kinetic sculptures.
Yet the show was more than spectacle. This was couture at its most essential — an ideas factory for the entire fashion industry, unfettered by trends.
' Chanel was interested in how clothes could be of practical use to women; Elsa was interested in what fashion could be,' Roseberry added.
It is this what-if energy, the transformation of memory, myth, and sheer technique into something never seen before, that keeps couture vital, even as the world rushes toward AI and disposable fast fashion.
The setting only heightened the effect. The Petit Palais is currently home to an exhibit on Charles Worth, the 19th-century Englishman who invented haute couture by bringing artistry and handcraft to Paris. The symmetry was irresistible: in these halls, Schiaparelli's past collided with fashion's future, reminding all why couture matters: not as museum piece, but as living laboratory for risk, reinvention, and radical beauty.
A decade after its relaunch, Schiaparelli has found commercial traction and become a fixture on the world's red carpets, a rare feat in today's luxury market. But above all, the brand's power lies in its ability to surprise. On opening day, as Cardi B's crow threatened to take flight, Schiaparelli proved that in Paris, fashion's most potent magic is still the unexpected.
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Milan's historic La Scala cracks down on tourist dress code
Milan's historic La Scala cracks down on tourist dress code

The Independent

time31 minutes ago

  • The Independent

Milan's historic La Scala cracks down on tourist dress code

A historic opera house in Milan has cracked down on patrons and tourists entering the prestigious venue wearing summer attire such as shorts, tank tops and flip flops, warning they will be turned away if not dressed appropriately. The opera was seen as a symbol of wealth and exclusivity in 19th-century high society, and the bourgeois elite of this time period would have been expected to turn up in tailcoats, cravats and long evening dresses. While this opulent attire is not expected of patrons nowadays, Milan 's Teatro alla Scala opera house, commonly known as La Scala, has recently reinforced its smart dress code in the wake of opera-goers turning up in casual summer fashion. 'The public is kindly requested to dress in keeping with the decorum of the theatre, out of respect for the theatre and for other viewers,' La Scala 's policy warns. 'People wearing shorts or sleeveless T-shirts will not be allowed inside the auditorium; in this case, tickets will not be reimbursed.' The venue also has signs around the foyer and on tickets stating the same message, warning patrons that they will not get a refund if they turn up wearing clothes not in keeping with the 'decorum'. The rules over informal clothing were first introduced in 2015 when the summer season coincided with the World Expo in Milan, as a way to deter the influx of tourists turning up in summer wear. 'There are no special dress code requirements at La Scala,' a spokesperson at the theatre told The Independent. 'We are delighted that some of our audience members consider an evening at La Scala to be a special occasion and dress accordingly, but our priority is to welcome everyone and make sure they feel comfortable. 'This is precisely why, in 2015, we introduced restrictions on clothing that could cause discomfort to other audience members who have to share the often limited space of an 18th-century theatre. 'With the return of summer (an especially hot one), we reminded the audience of these rules, which have remained unchanged for ten years. 'It would not be right to tell spectators how to dress, but it is necessary that they do dress, as not to cause discomfort to other people,' the spokesperson added. Until now, dress codes at La Scala have not been strictly enforced, partly due to its former French director Dominique Meyer, who said he would rather have less smartly dressed operagoers than a theatre full of empty seats. Opera houses across the world have been creating initiatives to try to get younger people invested in this historic performance art, as well as making operas feel more welcoming and accessible to all, not just the upper classes. However, the venue has not pointed towards younger people for being the cause of the dress downgrade; instead, it is the increase of tourists in Milan. La Scala's spokesman added that there had been a 'change in behaviour led by visitors who do not follow opera but see La Scala as a landmark'. A recent article in La Scala's in-house magazine says that 'adapting one's attire to the occasion should be a conditioned reflex' and that 'common sense' should prevail in how to dress and behave in the theatre. 'And so it seems obvious to dress a little more elegantly for premieres than for repeat performances, and for evening performances than for afternoon ones', the La Scala 'Survival Manual' article added. 'Putting on a jacket and tying a tie, after all, aren't particularly demanding, or even painful, tasks.'

Princess Charlotte, 10, channels her mother Kate's polo chic style as she attends men's Wimbledon final
Princess Charlotte, 10, channels her mother Kate's polo chic style as she attends men's Wimbledon final

Daily Mail​

time34 minutes ago

  • Daily Mail​

Princess Charlotte, 10, channels her mother Kate's polo chic style as she attends men's Wimbledon final

P rincess Charlotte channelled her mother Kate at Wimbledon today as she mirrored a key look donned by the Princess of Wales at a charity polo match in 2022. As the 2025 men's singles final got underway at the All England Club, Prince William and Princess Kate arrived in the royal box accompanied by two of their three children, Prince George, 11, and Princess Charlotte, ten, for one of the most notable events in the British sporting calendar. Young Charlotte, often dubbed her mother's 'mini', stepped out in a charming white summer dress with delicate frill detailing at the hem and black v-line stitching, an ensemble that appeared to pay homage to a similar look worn by Kate three years ago. Back in 2022, the Princess of Wales turned heads at the Guards Polo Club in Egham, where she was supporting Prince William at a charity match. For the occasion, Kate wore a sleek ankle-length white dress with sharp black detailing by one of her go-to British designers, Emilia Wickstead. She accessorised the outfit with Camilla Elphick flats, stylish Finlay & Co sunglasses and statement earrings. Charlotte's Wimbledon outfit echoed the same elegant combination of white and black, albeit in a more youthful, age-appropriate style. The subtle nod to her mother's past outfit did not go unnoticed by fans, who praised the sweet sartorial tribute. At the polo event in 2022, Kate was seen smiling and laughing with friends, and even the family dog Orla, as she cheered on William from the sidelines. Today, the Wales family once again presented a united front at a high-profile sporting event, with Charlotte following in her mother's stylish footsteps. The Princess of Wales beamed as she arrived at the All England Club for the men's Wimbledon final this afternoon - and she was accompanied by her tennis-mad children. Mother-of-three Kate Middleton has been patron of the All England Lawn and Tennis Club, also known as the AELTC (which organises the day-to-day running of the prestigious tournament), since 2016. While she has brought George and Charlotte to the sporting event, Prince Louis, who is known for his cheeky antics during spectator events, was absent. Louis, who turned seven in April, last delighted royal fans with his funny facial expressions and adorable beaming smile, showing off his new adult front teeth, at Trooping the Colour in June. The Princess looked radiant in a blue dress as she arrived at the All England Club for the second consecutive day this afternoon - after presenting the trophy at the women's final on Saturday. Kate also wore her ' Wimbledon bow' - a brooch featuring the tournament's iconic colours - which it's believed she has worn every time she has visited Wimbledon. The Prince and Princess of Wales, with Princess Charlotte and Prince George as they arrive on day fourteen of the 2025 Wimbledon Championships She debuted her green and purple bow back in 2017, when she paired it with a white, short-sleeved dress. More than just a mere accessory, the Princess' go-to Wimbledon brooch is actually a symbol of royal patronage, gifted to her from the Queen Elizabeth II. The women's 2025 final saw Iga Swiatek beat Amanda Asiminova 6-0, 6-0 in a match that lasted just under an hour. Kate appeared overwhelmed upon arrival at the Royal Box on Centre Court and was welcomed by a huge chorus of cheers and a standing ovation. It was reminiscent of the reception she received last year, when she chose the tennis tournament as her first solo outing after taking time away from public duty while being treated for cancer. Today's final sees Jannik Sinner take on Spaniard Carlos Alcaraz - of whom Princess Charlotte is known to be a fan. Charlotte delighted fans last year with her animated reactions as she watched her favourite player win the coveted trophy. Throughout the nail-biting match, the young royal winced, cheered, and beamed, as she watched the players compete for the prestigious title. Prince William, Catherine Princess of Wales, Prince George and Princess Charlotte arriving at the Wimbledon Tennis Championships today The couple's youngest child, Prince Louis, did not attend the event with his family today Kate took over the role of patron in 2016 from the late Queen who had held the position for 64 years. The accessory is worn by members of the Committee of Management during the Fortnight – the Main Board of the AELTC and representatives of the LTA. It signifies their responsibilities as the Committee governing the tournament. The Patron has always traditionally been given a Committee bow in recognition of her role, which is why the Duchess has chosen to wear it when visiting The Championships. Other individuals also given an honorary Committee bow are the Chief Executive. The present colours of dark green and purple were introduced in 1909 as the club's previous colours, blue, yellow, red and green, were too similar to those of the Royal Marines. The royal was praised for her Wimbledon outing yesterday, after she consoled the tearful runner-up Amanda Asiminova who was thrashed by Iga Swiatek in the most one-sided Wimbledon final since 1911. Kate placed her hand on the American's arm and told her to 'keep your head high' following the 23-year-old's 6-0, 6-0 loss on Centre Court in just 57 minutes. Anisimova had to briefly leave the court following her humbling at the hands of an inspired Swiatek, 24, as she recorded a double bagel scoreline in the women's final - the first in 114 years and for only the second time in the tournament's history. The Oscar winner displayed her ageless good looks and taut complexion as she kept her eyes on the court She styled her long auburn tresses straight Anisimova broke down again as she mentioned how her mother had flew in from America that morning to watch her. Anisimova said meeting Kate 'was the positive of today' and told how she had been 'really kind'. Speaking after the match, she said: 'It was such an honour to meet her. 'I wasn't sure if she was going to come out today, if she was going to be there, so it's just really nice to see her. 'She definitely had a few things to say that were making me emotional again.' A tearful Anisimova wiped away tears during her post-match interview on court as she praised Swiatek and said she had 'run out of gas a bit today'. She was playing in her first Wimbledon final and said 'she would never forget this experience'. 'Thank you for being here and breaking the superstition of not flying in - it isn't why I lost here,' she joked. Anisimova: 'I know I didn't have enough today but I will keep putting in the work and I hope to be back here one day.' A victorious Swiatek, the first Polish woman to win Wimbledon, also offered words of encouragement to Anisimova. 'First I want to congratulate Amanda for an amazing two weeks. You should be proud of the work you are doing and I hope we will play more finals her,'' she said. 'I didn't even dream, for me it was way too far. I feel like I am already an experienced player after winning the Slams before but I never expected this one. 'This year I really, really enjoyed it and feel I improved my form here. 'I am always going to remember the opening of champagne bottles between serves! It is a sound that will keep me away at night!' The only ever time there has been a 6-0, 6-0 scoreline in a Grand Slam final was in 1988 when Steffi Graf beat Natasha Zvereva in the French Open. For her appearance yesterday, Kate donned a custom Self-Portrait white ensemble. The two-piece outfit featured a high collared, military-style belted top and a flowing midi skirt. Kate has worn designs from Self-Portrait on a number of occasions, including a 2023 Wimbledon appearance, where she wore a similar two-piece outfit, but that time, in green. She finished the ensemble with a pair of Gianvito Rossi suede slingback heeled pumps in cream, and Anya Hindmarch's Neeson Small Square Tote bag in cream, which retails for £950. Her jewellery included a gold Halcyon Days bracelet and Cartier earrings. She also gave a sweet nod to her husband Prince William, wearing what appeared to be her Cartier Bleu watch, which Prince William gave her as an anniversary gift in 2014. Last year also saw Carlos Alcaraz in the final, which he won, beating Novak Djokovic in straight sets.

Kenneth Colley obituary
Kenneth Colley obituary

The Guardian

time35 minutes ago

  • The Guardian

Kenneth Colley obituary

Kenneth Colley, who has died aged 87, after suffering from Covid and pneumonia, was a character actor widely admired by both the press and public for his screen roles over 60 years, from the Imperial officer Admiral Piett in two of the original Star Wars films and Jesus in Monty Python's Life of Brian to historical figures such as Nelson and Napoleon, and two Adolfs, Hitler and Eichmann. He described his parts as 'mad and bad', while critics variously commented that the sad-eyed actor had 'a defeated look if ever there was one' and he could 'make your spine tingle with pleasure'. He is embedded in the minds of sci-fi film fans as Firmus Piett, a role he landed after Irvin Kershner, director of The Empire Strikes Back (1980), the second in the first Star Wars trilogy, said he was 'looking for someone that would frighten Hitler'. Piett was the commander of Executor, Darth Vader's flagship super star destroyer employed in the Empire's quest for galactic control. George Lucas, the Star Wars creator and producer, had not intended to feature an Imperial officer twice in the first trilogy, but Colley made the character of Piett human – 'You can't just play a uniform,' he said – and Star Wars fans wrote in demanding to see him again. So Lucas brought him back for Return of the Jedi (1983), adding scenes to the original script. But Colley's run ended there, with Piett commanding the entire Imperial fleet at the Battle of Endor and perishing when a Rebel starfighter destroys the Executor's command bridge. He remained a firm fan favourite at Star Wars conventions over the following decades. Colley also gained cult status as Jesus delivering the Sermon on the Mount in the 1979 film Monty Python's Life of Brian. He had previously appeared with individual members of the Monty Python team in the movie Jabberwocky and on TV in Ripping Yarns (both in 1977). He was also much admired by Ken Russell and was part of the flamboyant director's unofficial repertory company for 22 years. Colley started as Hitler in Dance of the Seven Veils (1970), a BBC musical biopic that outraged Richard Strauss's family with its sex scenes and depiction of the composer as a Nazi sympathiser. Then came film parts as Modest, Tchaikovsky's younger brother, in The Music Lovers; Legrand in The Devils, brilliantly cinematic, but controversial – and censored – for its tale of a philandering 17th-century French Catholic priest, witchcraft, nudity and sexually repressed nuns; and a bearded king for a fantasy sequence in The Boy Friend (all 1971). In further Russell musical biopics, Colley was Krenek, a journalist posing challenging questions, in Mahler (1974) and Frédéric Chopin in Lisztomania (1975). He played the dour teacher Mr Brunt in Russell's film version of The Rainbow (1989) before returning to TV as Alfred Dreyfus, a wrongly jailed 19th-century French officer, in Prisoner of Honor (1991) and the composer John Ireland in The Secret Life of Arnold Bax (1992). Colley was born in Manchester, to Jessie (nee Hughes) and Ernest Colley, a labourer. When he was 14, a teacher at South Hulme secondary modern school asked him about his career ambitions, and he said he wanted to act. On leaving school, he went through jobs as a commercial art assistant, bus conductor and warehouse operative, but his dream never faded. 'One day, I told myself that I was 23 and I had to stop wasting my time,' Colley recalled. In 1961, he headed for London and knocked on theatrical agents' doors, but failed to impress. Nevertheless, he landed his first theatre job as an assistant stage manager with Bromley repertory company, where he started acting. He also made his screen debut, as a corpse, in the BBC sci-fi series A for Andromeda (1961) in the middle of an actors' strike that meant most Equity members were not available for work. Moving on, he joined the newly formed Living Theatre company in an old school building in Leicester (1961-63), alongside actors such as Jill Gascoine. His performance as Jimmy Porter in John Osborne's anti-establishment play Look Back in Anger led one critic to write: 'Kenneth Colley burns with sardonic rage.' While television quickly recognised his talents as a character actor, with appearances in dramas such as The Avengers (1963), as well as the role of a fellow steel worker playing pranks on Dennis Tanner in Coronation Street (1964), Colley continued on stage with the company at the Unity, a London East End venue with roots in the workers' theatre movement. He played Wick there in another 'angry young man' play, Little Malcolm and His Struggle Against the Eunuchs (1965), written by David Halliwell and directed by Mike Leigh. He reprised the role at that year's Dublin theatre festival and in the West End of London the following year at the Garrick, before taking small parts with the National Theatre company at the Old Vic in 1968. Later stage roles included Cleet in Cromwell (Royal Court, 1973) and Benedick on tour with the Royal Shakespeare Company in Much Ado About Nothing (1979). In films, he played Michael Crawford's chauffeur in The Jokers (1967) and a Soviet colonel in Firefox (1982), alongside Clint Eastwood. He first played Hitler on television in Jean Benedetti's BBC play These Men Are Dangerous (1969). His other small-screen parts included Charles I in Revolution: Cromwell (1970), the 'accordion man' in Pennies from Heaven (1978), an SS officer in the 1983 TV movie The Scarlet and the Black, starring Gregory Peck, Eichmann in Wallenberg: A Hero's Story (1985), and the title roles in I Remember Nelson (1982) and Napoleon's Last Battle (1990). Colley also gave a standout performance as the manipulating Duke of Vienna in the 1979 BBC Shakespeare production Measure for Measure and enjoyed a starring role as Ken Uttley, owner of a removals firm, in the comedy-drama Moving Story (1994-95). In 2016, he played the doomed mob boss Vicente Changretta in Peaky Blinders. In 1962, Colley married Mary Dunne; she died in 2018. Kenneth Colley, actor, born 7 December 1937; died 30 June 2025

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