
Blast from the past: Celebrities who stunned in archival looks at the Cannes Film Festival 2025
Above Natalie Portman at the Cannes Film Festival 2025 ()
Above Christian Dior's 1951 Mexique dress (Photo: Instagram / @art8amby)
Natalie Portman also turned heads in a custom Dior gown embellished with a bow detail at the bodice, inspired by Christian Dior's 1951 Mexique dress. 3. Elsa Hosk
Above Elsa Hosk at the Cannes Film Festival 2025 ()
Above Thierry Mugler's autumn-winter 1995 collection (Photo: Instagram / @ideservecouture)
Supermodel Elsa Hosk channelled drama and sensuality in an archival ensemble from Thierry Mugler's autumn-winter 1995 collection—featuring a transparent, figure-hugging gown paired with a velvet and satin coat. 4. Irina Shayk
Above Irina Shayk at the Cannes Film Festival 2025 ()
Fellow supermodel Irina Shayk embraced retro glamour in a velvet and faille dress from the Yves Saint Laurent autumn-winter 1988 haute couture collection. 5. Rooney Mara
Above Rooney Mara at the Cannes Film Festival 2025 ()
Above Vintage 1956 Givenchy dress (Photo: Instagram / @art8amby)
American actress Rooney Mara chose a timeless silhouette with a vintage 1956 haute couture Givenchy dress. 6. Amal Clooney
Above Amal Clooney at the Cannes Film Festival 2025 ()
Amal Clooney looked striking in a floor-sweeping black gown designed by John Galliano during his tenure at Dior. 7. Zoey Deutch
Above Zoey Deutch at the Cannes Film Festival 2025 ()
Above Chanel spring 1956 dress (Photo: Instagram / @art8amby)
Zoey Deutch looked pretty in pink by donning a recreation of a Chanel spring 1956 haute couture dress.

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Tatler Asia
2 days ago
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Christian Louboutin's Hotel Vermelho is a bold Portuguese hideaway for design lovers
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This glittering masterpiece was created by Orfebrería Villarreal, a renowned Seville workshop that traditionally crafts religious items for churches and processional ceremonies. The space is anchored by hexagonal red floor tiles—a nod to Christian Louboutin's signature scarlet soles—creating an atmosphere that perfectly embodies the hotel's philosophy of 'la vie en rouge'. A culinary love letter to the Alentejo region Above Restaurant Xtian celebrates authentic Portuguese cuisine using seasonal ingredients sourced from Alentejo producers. (Photo: Instagram / @hotelvermelho) Restaurant Xtian represents the very heart of Louboutin's vision, born from his desire for a perfect local dining spot in Melides. Under chef Emanuel Machado's direction, the kitchen celebrates authentic Portuguese cuisine using seasonal ingredients sourced directly from Alentejo producers. The commitment to local craftsmanship extends beyond the menu, with dishes served on handcrafted crockery made by artisans from Melides village itself. Vermelho's restaurant has become such a destination that it attracts diners travelling from Lisbon specifically to experience its offerings. Well-appointed spaces for renewal Above With intricate tilework, the spacious bathrooms are private retreats for renewal. (Photo: Instagram / @hotelvermelho) Featuring intricate tilework and high‑quality finishes, the generously proportioned bathrooms at Hotel Vermelho transform ordinary bathing into a spa-like ritual. Rainfall showers, plush robes and slippers and premium bath products from brands like Kama Ayurveda and Anne Semonin create a private retreat for rest and renewal. Meanwhile, Vermelho's spa is built with stones once part of ancient churches, said to imbue the space with calming energy. Walls of transparently tiled alabaster sourced from Luxor—a nod to Christian Louboutin's Egyptian heritage—allow golden light to filter into treatment rooms. The spa's wellness philosophy blends Indian mindfulness techniques, particularly Ayurveda, with luxury French cosmetics, creating a holistic approach to restoration. An outdoor art gallery for a pool Above The swimming pool is adorned with baroque-style sculptures. (Photo: Instagram / @hotelvermelho) The naturally heated swimming pool, nestled within lush gardens designed by French landscape architect Louis Benech, transcends typical hotel amenities. Baroque-style sculptures by Italian artist Giuseppe Ducrot transform the poolside into an enchanting open-air gallery. Guests can bask in the Alentejo sunshine surrounded by local flora while enjoying complimentary Saturday morning yoga classes. Intentionally low-tech for ultimate relaxation Above Hotel Vermelho encourages guests to disconnect from digital distractions and reconnect with the simple pleasures of contemplation. (Photo: Instagram / @hotelvermelho) Hotel Vermelho deliberately champions analogue luxury. Televisions are notably absent from rooms unless specifically requested, while digital key cards have been replaced with charming leather keyrings handcrafted by Christian Louboutin's Parisian team. This approach extends throughout the property, encouraging guests to disconnect from digital distractions and reconnect with the simple pleasures of conversation, contemplation and genuine human connection. The birth of a designer coastline Above Apart from Hotel Vermelho, Christian Louboutin has plans to open more luxury boutique properties in the area. (Photo: Instagram / @hotelvermelho) Hotel Vermelho is only the beginning of Christian Louboutin's ambitious vision for the region. Along this stretch of coastline, the designer is creating a collection of retreats that reflect his signature style. Vermelho Lagoa, a 10-room property overlooking the Melides lagoon, is set to open in spring 2026, and a third hotel nestled in the nearby pine forest is reportedly in development. Together, these projects aim to establish Melides as a distinctive luxury destination shaped by Louboutin's discerning touch. Credits This article was created with the assistance of AI tools


EVN Report
2 days ago
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Thea Farhadian's 'Tattoos and Other Markings'
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Reviewer Massimo Ricci has written: 'What separates her from the typical…tedium- transmitting specimens, is the ability to render the most absurd-sounding complications with sensible unambiguity.' Farhadian has performed in some of the world's premiere music venues, including Issue Project Room, the Downtown Music Gallery, and Alternative Museum—all in New York City—as well as the Aram Khachaturian Museum in Yerevan, Armenia. An artistic polymath, she has also curated experimental video and co-founded the New York and San Francisco Armenian Film Festivals. The composer explains that she grew up listening to Armenian music at home—both folk and sacred—which eventually led her to study Arabic music with the renowned Palestinian oud and violin master Simon Shaheen: 'I fell in love with the Arabic maqamat and began to feel more freedom using these modes to compose and play music.' Until recently it was rare to find an American-born artist who had mastered both the European and Arabic classical traditions, as well as a third tradition that is quite different, as Armenian music is based on a modal system of tetrachords that can repeat indefinitely. In an Other Minds podcast hosted by composer Joseph Bohigian, Farhadian described the process of making this four-track album more like painting than creating music, as details of her past slowly revealed themselves to her like colors on a canvas. The 44-minute long album starts off with Mokats Mirza, a piece that integrates a broader mechanistic soundscape with the voice of Komitas, which weaves in and out of the background sounds. The repetition of the sounds and sequences mimic the repetition steps across the seemingly endless Syrian desert with scant food or water. Strange unidentifiable voices appear in the background. The 18 minute-long Eulogy possesses similar elements but is presented in a more dirge-like manner. At times it resembles a slow-motion recording which offers the listener the opportunity to grieve silently as the music engulfs their senses. The third track, Inscriptions is comprised of industrial sounds that have been processed and shaped out into a soundscape that resides between silence and emptiness. These include scratchings, and sounds that recall a recording machine whose tape is run backwards, an MRI Machine, and a printing press. Here multiple technologies—both advanced and primitive—share a common function of inscribing: letters, tattoos, the inside of one's body. Finally, Farhadian's fourth and final track Gar oo Chgar, (There once was and there was not), bears the title of the traditional opening for Armenian fairytales and fables. Here, the repeated sounds perhaps stand in for needles tattooing the skin or conversely erasing them. The interstices may mirror the emptiness that the marked women experienced first during their long ordeals of captivity and later when liberated and reintegrated into Armenian communities. Farhadian also included the sound of sand falling on the floor of the Aram Khachaturian Hall; a child reciting a poem in Armenian; a recording of the double reed instrument, the duduk. To get a fuller picture of the traumatic experience of deportation, I would pair this remarkable CD. with Elyse Semerdjian's previously mentioned book. I would also add the work of fine artist Linda Ganjian whose recent exhibition 'Her Mind: a Metropolis' at Hudson, New York's Front Row Gallery mixed traditional Armenian motifs and crafts with designs reminiscent of Art Deco to approach her maternal grandmother's experience of survival. As Farhadian reminds people when discussing the personal odyssey which led to her completing 'Tattoos and Other Markings,' discovering this little-known information was chilling, and led her to questions about which cultural narratives are remembered and which are forgotten. In fact, Armenian immigrants to the United States at the turn of the 20th century were made to prove their whiteness, in order to be naturalized American, so the notion of tattooing and marking is doubly pregnant with meaning here. Farhadian's music suggests new avenues for how we hear and represent the past, by leaving the listening experience open- ended rather didactic ways of listening and interpreting. As Liverpool University's James and Constance Alsop Chair of Music Emerita Anahid Kassabian notes: 'This piece invites listeners to make their own connections among the sounds, welcoming all engagements with it. Aesthetically the layers and materials are intriguing, but making the links among them is the listener's option.' The markings left on these women of 1915 by tattoos may be both psychic and mental. And much like the musical notations that mark a page, they offer new pathways to understanding and even perhaps healing the past.


Tatler Asia
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