Latest news with #AlexanderMcQueen
Forbes
a day ago
- Entertainment
- Forbes
Songs Of Siren: A Tribute To Indian Master Artisans
Greek mythology-inspired luxury label Songs of Siren pays homage to Indian artisans Indian artisan communities have quietly powered the global fashion industry for decades, their extraordinary skills often uncredited despite driving major luxury collections. From Prada's interpretation of traditional Kolhapuri sandals to Louis Vuitton's autorickshaw-inspired bags and Gucci's custom sari for actress Alia Bhatt at the 2025 Cannes Film Festival, the fashion world increasingly turns to India for inspiration, yet the master craftspeople behind these techniques remain largely invisible. Designer Tinka Weener is changing that narrative with her couture label Songs of Siren, launched in late 2024. Drawing from her experience freelance styling for Alexander McQueen and working across retail, photography, and fashion PR in Los Angeles, Weener has created a brand that doesn't just borrow from Indian traditions, but celebrates them as the centerpiece of every collection. A Modern Mythology Rooted in Ancient Indian Craft "The collection is positioned as a modern interpretation of timeless tales, celebrating the power and allure of femininity in a contemporary context," Weener explains. While her brand takes its name from Greek mythology and reimagines sirens not as dangerous temptresses but as powerful feminine archetypes, the soul of Songs of Siren lies in India's textile heritage. Her debut collection features intricate hand-beading and sculptural silhouettes designed to make women look and feel their best. The meticulous detail and artistry found in traditional Indian embroidery techniques are meant to empower the wearer, a concept deeply inspired by her time at Alexander McQueen, where she witnessed firsthand how exceptional craftsmanship could transform both garment and wearer. Songs of Siren's luxury garments range in price from $895 to $1,250 and is made for the modern ... More woman. Authentic Indian Collaboration, Not Cultural Appropriation Shot in Mumbai and creatively directed by Indiana Vos, Songs of Siren's latest campaign serves as a vibrant love letter to India's rich textile traditions. But this isn't surface-level inspiration. In fact, Weener has built her entire creative and production team around authentic Indian collaboration. Working with Indian stylist Shrreeya Shorewala, the campaign incorporates traditional accessories and clothing pieces including saris, potli bags, and dhoti pants. The models are women of South Asian descent wearing culturally inspired accessories. "There is this elegance and confidence in Indian women that you cannot find anywhere else," Weener notes. "Everyone is so warm and welcoming and they really make me feel at home whenever I'm there." This approach stands in stark contrast to fashion's tendency to reduce rich cultural traditions to "bohemian" trends mixed with Western wear. Instead, Songs of Siren places Indian craftsmanship at the focus, giving it the respect and recognition it deserves. The Art of Aari: Preserving Ancient Indian Techniques At the heart of Weener's collections lies the Aari technique, which is an embroidery method using a hooked needle that requires extraordinary skill and patience. Craftsmen sit on the floor, one hand plying the sharp needle from above while the other feeds silk thread from below the fabric. It's painstakingly time-consuming and detail-oriented work, with each piece emerging as a unique work of art. Tinka merges Greek and Biblical symbolism with India's ancient textile wisdom, resulting in a body ... More of work that feels both divine and deeply rooted. "I love how it's the polar opposite of what a lot of fashion brands do in this day and age," Weener explains. "It's not focused on speed and overconsumption. I wanted to create a brand that slows down the process and focuses on the human aspect to create truly timeless pieces of wearable art." Working with Anurag Vora, Co-Founder of Ricamour Embroideries, Weener communicates her vision through drawings, mood boards, and inspiration images. The collaborative process involves multiple stages: creating small swatches for feedback, developing artwork for beading on dress panels, and maintaining constant communication through work-in-progress photos and videos to ensure the final pieces align perfectly with her creative vision. Ethical Conditions Are Cornerstone Of This Indian-Inspired Brand In an industry facing increasing scrutiny over labor practices such as the recent expose of Italian luxury brand Loro Piana over worker abuse, Weener has made ethical conditions non-negotiable. Her partner atelier focuses intensively on fair labor practices and ethical working conditions, providing not just fair wages and paid annual leave, but government-mandated pensions and private health insurance that extends to workers' families. During Diwali, the annual Festival of Lights, artisans receive annual bonuses, with top performers earning higher rewards for exceptional work. The atelier also provides interest-free loans to help craftspeople buy houses or land, ensuring their families' long-term financial security. This comprehensive approach to worker welfare stands as a model for how fashion brands can operate ethically while producing extraordinary work. Recognizing And Celebrating Indian Fashion More than commercial success, Songs of Siren represents a fundamental shift in how fashion brands can engage with cultural traditions. Rather than extracting inspiration without acknowledgment, Weener has built her entire brand around showcasing and celebrating Indian artisanship on the global stage. "We produce in India and work directly with extraordinarily skilled artisans," she emphasizes. "We want to highlight their incredible work and demonstrate that we are not outsourcing or trying to hide where our garments come from. Their artistry, attention to detail, and brilliance help bring our creative vision to life, and we want to celebrate that." Thhe Aari technique is known for producing intricate and detailed designs which is commonly used ... More with beads, sequins, and metallic threads. Each garment tells a story of collaboration and respect, transforming fashion from cultural appropriation into genuine partnership. The campaign brings India's master craftspeople into the spotlight where they belong: not as hidden labor, but as celebrated artists. "My ultimate goal is for everyone who wears one of these pieces to feel confident and proud," Weener concludes. 'I want them to know that they are wearing a work of art, infused with history and created with passion. This is about empowering through fashion and giving a global platform to the incredible Indian artisans who are the true stars of this project.'
Yahoo
3 days ago
- Entertainment
- Yahoo
20 times Kate Middleton and Princess Charlotte wore coordinating outfits
Kate Middleton and Princess Charlotte often wear coordinating outfits in public. They have matched at royal events like Charlotte's christening and Prince Harry's wedding. Most recently, they both wore bow-adorned dresses at Wimbledon in July. There's nothing cuter than a mother-daughter matching moment — except for a royal mother-daughter matching moment. On Sunday, Kate Middleton, 43, and Princess Charlotte, 10, attended Wimbledon. They both wore dresses with bow detailing for the event, but it's far from the first time they've worn coordinating looks in public. Take a look at some of Kate and Charlotte's best matching looks from over the years. Kate Middleton matched Princess Charlotte for her christening. For Charlotte's 2015 christening, the Princess of Wales wore a white Alexander McQueen coatdress and a statement hat designed by Jane Taylor. Her monochromatic outfit coordinated with Charlotte's off-white christening dress. Charlotte's pink dress complemented Kate's hat at Trooping the Colour in 2016. Charlotte wore a pink dress and shoes, as well as a pink barrette, to her first Trooping the Colour in June 2016. The ensemble coordinated with Kate's Philip Treacy hat, which she wore with a white dress. The pink hat popped next to Charlotte's ensemble. Later that year, the mom and daughter both wore blue for a visit to Canada. Kate wore a long-sleeved Jenny Packham dress with a collared neckline. She paired it with a floral hat and a maple leaf brooch. The blue outfit complemented Charlotte's light-blue dress. Charlotte's barrette and shoes matched her mother's ensemble, too. The duo stood out in white again for a 2016 ski trip. Kate wore a white ski jacket, while Charlotte wore a small, white ski suit. Prince William and Prince George wore coordinating blue jackets as well, tying the whole family together. Soon after, they popped in shades of red together for Christmas 2016. Kate's red clutch appeared to match Charlotte's tights. The young princess also wore a red barrette in her hair, further connecting their looks. Their outfits for Pippa Middleton's 2017 wedding complemented each other. Charlotte wore a white flower girl dress with a blush ribbon around her waist and a floral headpiece. Kate wore an Alexander McQueen hat and headpiece almost the same color as the belt on Charlotte's dress. Kate and Charlotte wore matching outfits on a 2017 trip to Poland and Germany. As they started the trip, Kate matched Charlotte and George in a blue A-line dress with button detailing on the waistline. Charlotte's floral dress and dark-blue shoes coordinated with her mother's dress, as did George's blue shirt and shorts. The pair wore pink together at Trooping the Colour in 2017. Charlotte wore a pink dress with a ruffled collar, while Kate wore a bubblegum-pink Alexander McQueen dress with a full skirt and a matching hat. They opted for light-blue outfits at the 2018 event. When the royal family gathered for the 2018 Trooping the Colour, Kate wore a light-blue dress designed by Alexander McQueen. The dress had a square neckline and was cinched at the waist. Charlotte rocked a blue, floral dress that complemented her mother's ensemble. The duo both wore pale hues at Prince Harry and Meghan Markle's wedding in 2018. Kate's Alexander McQueen dress for the wedding was technically yellow, but it flowed seamlessly with Charlotte's white flower-girl dress. Meghan later revealed the flower-girl dresses were a source of tension between her and the Princess of Wales. Kate and Charlotte both wore pink, patterned dresses for a casual day in 2019. Kate's short-sleeve dress was bright pink, while Charlotte's floral dress was paler. Charlotte also wore a pink ribbon in her hair, adding to her colorful look. Charlotte's coat coordinated with Kate's accessories for their annual Christmas walk in 2019. Charlotte embraced the Christmas spirit in a deep-green jacket on the royal family's Christmas walk at Sandringham in 2019. The jacket coordinated with Kate's purse, shoes, and hat, which she wore with a gray, fuzzy coat. The mother and daughter wore the same shade of blue to an Easter service in April 2022. Kate wore an Emilia Wickstead coatdress to the service, which she had previously worn on a 2017 trip to Luxembourg. She paired the look with a darker blue hat and blue heels. Like her mother, Charlotte wore a bright-blue dress, though her Rachel Riley frock had a floral pattern and a Peter Pan collar. Her blue tights were also light blue, while her cardigan and Mary Janes were navy. Both Charlotte and Kate wore maroon coats to the 2022 "Together at Christmas" Carol Service. For the Carol Service, the Princess of Wales wore another of her signature coatdresses: a maroon, ankle-length piece from Epinone. Her shoes matched the dress. Charlotte also arrived in a maroon jacket with a fuzzy collar, which she paired with navy-blue tights. Charlotte's ensemble looked like a combination of her parents' outfits, as Prince William wore a blue suit and jacket with a maroon tie. The duo once again wore blue ensembles to a 2023 Easter service. The entire Wales family wore blue for the 2023 Easter service at Windsor Castle. Kate wore a recycled outfit for the event, donning a royal-blue Catherine Walker coatdress she previously wore to a Commonwealth Day service in 2022. A coordinating hat from Lock & Co., a blue purse, and nude heels completed the look. Charlotte wore a floral dress with a Peter Pan collar and puffy sleeves, pairing the spring frock with blue tights and Mary Janes. Kate and Charlotte wore navy and white ensembles at Trooping the Colour in June 2024. After months of public absence while undergoing chemotherapy, Kate attended her first royal engagement of 2024 at Trooping the Colour. She wore a white Jenny Packham dress with navy detailing on the high neckline and waist. A large bow popped on the neckline, and the Princess of Wales wore a matching blue and white hat designed by Philip Treacy. Charlotte's dress looked like a miniature, inverse version of her mother's. Her dress was navy with white detailing on the waist, sleeves, and neckline, and just like her mom's, it had a white bow on the neckline. The pair had a matching moment in red jackets at a Christmas celebration in December 2024. Kate and Charlotte had another twinning moment at the 2024 "Together at Christmas" carol service. Kate wore a red Alexander McQueen coat for the occasion, which had button detailing and a black bow at the neckline. She paired it with black boots. Charlotte also arrived in a red coat with buttons, which she paired with blue tights and black Mary Janes. Later the same month, they both wore green and blue tartan for their annual Christmas walk at Sandringham. Kate looked festive in an emerald green Alexander McQueen coat for the royal family's annual walk through Sandringham for Christmas in December 2024. She wore a coordinating hat, sported black boots, and carried a black purse, but the standout accessory of her look was a blue and green tartan scarf — which matched Charlotte's coat. Charlotte's coat had blue velvet on the collar, and she paired the statement piece with navy tights and black Mary Janes. They both popped in aquamarine at Trooping the Colour in June 2024. Kate's Catherine Walker coatdress had white detailing on the collar and sleeves. She wore a matching floral hat designed by Juliette Botterill with the bright dress, as well as an Irish Guards brooch. Charlotte's dress was a shade lighter than her mother's, but it also had white detailing on the neckline and waist. She also had a small pin on her dress. The princesses both wore dresses with bow detailing to Wimbledon in July 2025. Kate, William, George, and Charlotte attended the Wimbledon finals together in July 2025. The Princess of Wales wore a royal blue A-line dress with short sleeves and a bow-shaped ruffle on one shoulder. She also wore a bow pin. Charlotte's tea-length dress was white, though the bodice had ruffles trimmed with navy fabric. A bow sat on her waistline, mirroring the details on Kate's dress. Read the original article on Business Insider
Forbes
3 days ago
- Entertainment
- Forbes
Two Ambitious Projects Bring Alexander McQueen's Story To Life
Rick Lazes and Gary McQueen are behind two projects celebrating the life of late designer Alexander ... More Mcqueen. The late designer Alexander McQueen wasn't just a rock star in the fashion world, dubbed 'Fashion's closest thing to a rock star,' he was a friend or inspiration to many rock stars, including David Bowie, Lady Gaga, Courtney Love, Bjork and Beyonce, among others, who wore his clothes. Now, McQueen, who died at the age of 40 in 2010 of suicide, is getting the full rock star treatment. Producer Rick Lazes and McQueen's nephew, Gary, have teamed up for two very different and distinct projects celebrating the life and legacy of the designer. House of McQueen, a play starring Bridgerton's Luke Newton and acclaimed Broadway veteran Emily Skinner, opens off Broadway September 9 officially. Meanwhile, across the country in LA, Provocateur, an immersive show will take you on a tour through McQueen's life and works beginning January 1. I spoke at length with Lazes and Gary McQueen about the ambitious dual slate. Steve Baltin: The two simultaneous shows is fascinating because obviously they're very different audiences and very different experiences. Where did the idea come from and how do you imagine them going on tour? Will they take different routes? Talk about how they'll expand going forward and where it started. Rick Lazes: They are two very different animals. House of McQueen is a major production; it has a big cast, hundreds of costumes. In order to even produce House of McQueen we couldn't find a theater that really had the attributes that we needed and that would be fit to his legacy so we're actually building a theater. That's part of the project in Hudson Yards, a15,000 square foot theater that we're building from the ground up. House of McQueen can play primarily in major markets. The plan is after New York to play London, Paris and Milan. Provocateur is a different kind of experience. Provocateur is a living documentary of Lee's life. It's about 10 ,000 square feet. It's composed of 10 rooms starting with his childhood bedroom, his first school, his first job at a tailor shop, and his first fashion show when he was making costumes out of literally plastic bags. It's like walking in a documentary. And Gary and I have worked together since we first met to make sure about the authenticity of the experience. So, Provocateur is an immersive exhibit where you walk through his life and Lee, in his own words, through dozens of interviews that we've licensed, tells his life story. Gary McQueen: So, it hits a key milestone in the shows that he created as well, leading up to Plato's Atlantis at the end. Also, we're going to bring Lee to life as well as a finale using holographic technology. Lazes: Yeah, that's a good point. Provocateur is based on technology because there are no actors. There are holograms, there's digital projection mapping, there are video projections and in the final scene we take you into the metaverse and you put on goggles, and you actually go backstage and see a fashion show with Lee interacting with the models and the makeup artists and then we actually take you out onto the runway. House of McQueen is an unconventional theatrical experience, but people actually sit in seats and there's a stage. It uses technology also. We have about a thousand square feet of LED screens. But the story is more about his work and his life and his relationship to his mother and his relationship to his mentor, Isabella Blow, in a very theatrical performance. With music, although it's not a musical, there's no singing and dancing. So, they are two very different projects, and they've been working in tandem. Having Gary on the team keeps us grounded and authentic, and he brings us back. McQueen: I come from a unique stance and standpoint being both his nephew and I'm an artist myself. That's where Rick and I met actually in Art Basel Miami when I was exhibiting there with holographic technology, but I also worked with Lee Alexander McQueen as well. I worked alongside him for seven years, which is 14 shows. So, it gives me quite a well-rounded view of him, both personally and creatively, which is quite a unique place to be Baltin: How do these shows reflect his vision? McQueen: He's always dreamed of incorporating both technology and physical art with his collection. And what I'm doing with Rick pays tribute to Lee's love of blending technology and art. It's getting the balance of everything right, to create an atmosphere and experiences that are truly immersive. So, you're really brought into Lee's world and that will be done through various screen technologies, the narration done by Lee where we're using Lee's voice mixed with some AI to help narrate the viewer through the experience. Also, it's important to have obviously authentic physical garments from these collections alongside those so they blend seamlessly into one experience. Lazes: We're working with collectors from around the world. Gill Linton with Byronesque of Paris is an amazing curator that has worked with the Met. She's been putting together the displays. There will be a display of Haute Couture original dresses, both in New York and in Provocateur, in both markets. In the play we don't reproduce his dresses or try to copy his dresses. It's really about his story, his work and his personal relationships. But tandem to House of McQueen is an exhibit in the same building that's available to people that come to see the play before, during the intermission and after. They can walk through a mini-Savage Beauty exhibit. It's amazing, 650,000 people showed up for Savage Beauty. And I was told recently that if you go to a cocktail party in New York today and haven't been to Savage Beauty, you have FOMO (laughs). It's an amazing demand for his work and his art. What always intrigued me was he was always conceived of, and his reputation was of a great fashion designer, but he never got credit for being an amazing artist. That was one of the angsts that he'd had, along with the mercantilism of the fashion industry, first from Givenchy and then Gucci. Ultimately, that's what overwhelmed him. But no matter how large his obstacles were, and how difficult his personal life became, it fueled his art, and his art kept getting better and better right to the very end. McQueen: For me, it's really about keeping his legacy alive. I was very privileged to be able to spend that time with him, from a young age where he used to babysit into working with him at Alexander McQueen. A lot of people won't get that opportunity, obviously. So, for myself, it's really important to keep that legacy alive and let people experience some of those highlights of Lee's life through Lee's different experiences. Baltin: Talk about also expanding the legacy and celebrating the stuff that you don't feel got celebrated enough in his life. McQueen: I took part in the McQueen documentary film. I was in that, and I created the hero image for that film. I think it's important that people understand Lee as a person. He's very human. If you met him, you wouldn't really bat an eyelid. But he had this God-given gift and he was very relatable in a way. He comes from a working-class background and worked very hard at it. It's really an inspiring story of how he achieved everything that he achieved and knocked down boundaries, both in terms of class and creatively Lazes: What you just touched on also is his influence not only on fashion but on music, art and really all of pop culture in the 21st century. And he touches on issues that are so relevant today of rejection, homophobia, depression, anxiety and ultimately suicide that are problems that affect a very wide swath of our demographics. So, part of our mission here is that there couldn't be a time in American history when there has been more divisiveness and antagonizing antagonism among different cultures, races, religions and walks of life. So, our goal here is to is to help start that healing process. One of his famous quotes, which he had tattooed on his arm, was 'Love looks, not with the eyes, but with the mind.' That's what he stood for. He also said, 'Find beauty in everything' with another one of his quotes. These are quotes that are so relevant and timely to today. Many young fashionists, young people that are interested in fashion that might not even know who he is. But his message will resound of kindness and creativity. Baltin: The musician that reminds me most of is Bowie. Because Bowie was that total genius chameleon who blended everything so well. The other thing though, there's been immersive shows about Bowie and there's been so much about him already posthumously. I'm curious if there were things that you looked at or that inspired Provocateur. Lazes: The David Bowie immersive show was amazing. It brought you into his life. I saw it at the Brooklyn Museum. And we actually are using the technology they used. I don't know if you remember from that show, but you put on headphones, and it followed you around with a satellite. It knew where you were. So, when you went into different rooms, it automatically synced you up, whether he was in a recording studio or on a stage or backstage putting on his costumes. You could follow him around and it knew where you were. And it made it very personal and emotional. And we're using that same technology. They have satellites in all the rooms. So, as you walk into the room, if Lee is speaking or working on a dress or talking to a model, you immediately are immersed in his conversation without having to touch any buttons, it's pretty magical. Immersive shows have become the flavor du jour among particularly younger demographic and museums who supported them because some of their audience is aging out. But our show is very different because it has a story. Lee tells the story in his own voice. It's very personal and emotional. It's not just showing pictures of his fashion shows. So, it's interesting that you talk about Bowie because it's one of my favorites, it's a great show.
Vogue
3 days ago
- Entertainment
- Vogue
Why the Clueless Costumes Still Feel Timeless 30 Years Later
Transcendent as it may be, the film's fashion is not exactly meant to be attainable in terms of affordability. 'This is a movie about girls who have daddy's credit cards and they can go shopping at runway shows and designer clothes,' May says. Karl Lagerfeld, Marc Jacobs, and Alexander McQueen were on the mood board, while Alaïa ('an A-what-a?') and Calvin Klein are name-dropped in the script. But in reality, the film's $25 million budget—roughly $60 million in 2025, still on the lower end of a mid-budget movie—did not allow for the Rodeo Drive wardrobe that the characters would have owned. 'I went for the designer pieces, but then I had to get the thrift store stuff and alter everything,' May says. 'Nobody mixed things like that before. The high and low didn't exist. I think that also is what gave this timelessness.' ph: Elliot Marks / © Paramount Pictures/ Courtesy: Everett Collection What kept May grounded, at the end of the day, was the realization that the film was about teen girls. Sure, they were shopping with grown-up cash, but they were still figuring it all out. (Brands like Trina Turk, Miss Sixty, and Betsey Johnson helped inject the youthfulness.) 'It's young girls, 16 years old. They're not supermodels walking around. They're innocent,' May says. 'I think that's why the movie is beloved—because they feel real.'
Ammon
15-07-2025
- Business
- Ammon
Most expensive handbag in history sells for $10 million
Ammon News - A black leather Birkin bag just sold for €8.6 million ($10 million), with fees, becoming the most expensive handbag to ever sell at auction. The hammer fell at a winning bid of €7 million ($8.2 million). The first ever Birkin to have been created by Hermès, the bag was designed for the British actor and singer Jane Birkin. The Francophone style icon used it nearly every day from 1985 to 1994, before it became the ultimate symbol of luxury. On Thursday, the rarefied bag was sold by auction house Sotheby's in an online sale of notable luxury fashion, including designs by Alexander McQueen and Christian Dior. The auction house declined to provide an estimate of the original Birkin to CNN ahead of the sale, but advanced bidding had already smashed records at €1 million. During a live stream of the sale, gasps could be heard as the bidding pushed higher and higher. The 10-minute bidding war between nine collectors ultimately ended in victory for a private collector from Japan, according to a Sotheby's press release. CNN
