Latest news with #Batsheva
Yahoo
06-06-2025
- Entertainment
- Yahoo
All the Most Divisive Fashion Moments From 'And Just Like That'
In the first episode of And Just Like That season 3, Sarah Jessica Parker's Carrie already made headlines. Not only did she seemingly rekindle with Aidan (John Corbett) after their five-year break agreement, but she made a fashion risk that left the internet scratching their heads. In one scene, Carrie is walking through Washington Square Park with her friend Seema (Sarita Choudhury) wearing a cream-colored dress from Ossie Clark and a billowing gingham hat designed by Maryam Keyhani. On the internet, viewers were quick to criticize it. 'Who in their right mind would walk around NYC wearing this hat?? (Or any other city 😆)' wrote one X user. 'On last night's season premiere of And Just Like That, Carrie wore a 'hat' that made me question reality,' wrote another user. 'I saw the hat and wanted it on my head,' Parker said in defense of the hat choice to USA Today. 'At this point, there's no pretend dilly-dallying around. We pretty much just put stuff on my head and photograph it, and hope that Michael Patrick [King, executive producer of the show] is hospitable to the idea.' Luckily, he agreed. 'It's like, 'Hey, everybody, we're back!' he told the outlet of the look. 'I've learned over the years that sometimes logic is not as good as a hat. It makes people say, 'I love it. I hate it. Oh, my God, what was she thinking?'' To check out the divisive hat and some other divisive looks from And Just Like That over the years, scroll below! More from SheKnows Is And Just Like That Star Logan Marshall-Green Related to Tom Hardy? Best of SheKnows 27 Celebrity Moms Who've Opened Up About Their Plastic Surgery 16 of the Steamiest Movie Sex Scenes With Older Women & Younger Men All the Men Marilyn Monroe Reportedly Had Relationships With Throughout Her Short Life Parker had a vision to wear this Maryam Keyhani hat and really went for it. It's camp at its finest. Also in episode 1, viewers couldn't exactly get behind the oversized ball necklace Nicole Ari Parker's character Lisa Todd Wexley wore. 'And Just Like That Season 3 is strange…Between the clown bonnet and woven string light necklace I'm lost,' wrote one X user. In season 1, Carrie left fans scratching their heads with a scene of her smoking in a pink Batsheva housedress, babushka-style headscarf, and elbow-length purple latex gloves. Luckily, it all had an explanation. In a convo with Seema, she explained that the look is to avoid any cigarette smoke or smell from coming into her apartment. 'I smoked in here one night and then everything smelled like a cigarette and I was right back there, wanting to smoke morning, noon, and while I was sleeping,' she told her friend, per Vogue. 'Now, I allow myself one a day in a walk around the block, with like three kerchiefs on my head and Playtex kitchen gloves. I just can't risk having that smell on my hair and my hands.' Carrie and Steve (David Eigenberg) shared a sweet moment together when they volunteered to paint houses in season 1. One thing that fans couldn't get behind, though? Why would Carrie go paint in these massive silver platform heels? When season 1 was filming, AJLT got backlash when fans speculated that Parker wore this Boho dress seemingly from Forever 21 in one of the scenes. As it turns out, not only was the dress not from the fast fashion brand, but the look was all carefully planned. 'The message from [show creator] Michael Patrick King was 'Put Carrie in something that she would be kind of embarrassed to wear while bumping into Natasha [Big's ex-wife] at the coffee place,'' costume designer Molly Rogers told InStyle. 'For me, that was that long summer dress, and SJ wanted to put a tiger shirt underneath it. It was very Coachella in a way; I didn't really find it to be a very Carrie outfit. That's why I thought it worked.' They also revealed the dress was vintage. 'That was something that I purchased probably about five years ago,' fellow designer Danny Santiago said. 'It had no label in it, and I think I paid $5 or $6 at a thrift shop.' While this look didn't get as much attention as any Carrie look did in the show, this look from Lisette (Katerina Tannenbaum) was certainly a choice. Together with these oversized brown boots, Lisette wore these pink hot pants, a bright blue bra and a sheer dress on top. We all know that Carrie has a flair for drama, but this white tulle skirt paired with this striped colorful shirt wasn't exactly the cohesive look viewers were looking for. In season 2, one of the show's most controversial moments was Carrie's pigeon clutch in episode 2. The bag, which is 3D-printed by JW Anderson, accessorized Carrie's gray jumpsuit. 'We brought it in, they loaned us one, and Sarah Jessica was like, 'Gimme that bag!'' Molly Rogers told Entertainment Weekly. 'She was totally into it. It's painted beautifully.' In the sixth episode of season 2, Carrie left viewers gasping when she faced a blizzard in this massive Moncler by Valentino's Pierpaolo Piccioli coat. It's probably the most dramatic look of hers to date, but it sure would insulate her from the cold! 'I, too, gasped when I saw that coat,' wrote Callie Holtermann for the New York Times. 'You're telling me she had that in her closet earlier this season when she supposedly had nothing to wear to the Met Gala? When Rihanna herself arrived at the Met in 2021 wearing a Balenciaga puffer gown with a giant train?' You know an outfit is good for the Met Gala when you need your husband to help you, right? In the Met Gala episode in season 2, Lisa Todd Wexley (Nicole Ari Parker) wore this flowy red custom Valentino dress paired with a dramatic Philip Treacy headpiece with red petals. We could barely see LTW's face, she couldn't get into a car, and her husband Herbert (Christopher Jackson) needed to help her with the train. Was all the hastle worth it?
Forbes
19-05-2025
- Entertainment
- Forbes
New York Designers Launch The Collective Shopping Experience
From left: Lena Baranovsky of Hunting Season, Marina Larroudé, Batsheva Hay, Abrima Erwiah, Maxwell ... More Osborne of anOnlyChild, Jonathan Cohen, Sarah Leff, Edvin Thompson, Christopher John Rogers, Presley Oldham, Gigi Burris and Ryan Lobo of Emote When it comes to luxury retail in today's climate, the name of the game is experience. Shoppers seek excitement and connection beyond the typical client and sales professional interaction. For young brands and designers, exposure via their own stores is often cost-prohibitive, and wholesale accounts are crucial, but not always the best acting partners. (To wit, when Saks Global began the acquisition process of Neiman Marcus and Bergdorf Goodman, it halted vendor payments, seemingly indefinitely. Its recent announcement to drop 600 vendors is likely due to attrition from vendors who stopped shipping.) Recent excessive tariffs, thanks to outdated manufacturing ideas, have spurred shrinking consumer confidence amid fears of a global recession. This leaves smaller, independent American brands and designers already dealing with a luxury downturn in a tight spot. With the spirit of 'if you want something done right, do it yourself," 15 New York labels—Alejandra Alonso Rojas, anOnlyChild, Batsheva, Christopher John Rogers, Emote, Gigi Burris, Hunting Season, Larroudé, Presley Oldham, Ronny Kobo, Rosie Assoulin, Selima Optique, Studio 189, Theophilio, led by Jonathan Cohen—have come together for a three day pop up at the Freeman's | Hindman gallery on East 67thStreet to sell their Spring Summer 2025 offerings in a close-knit, often one-on-one shopping session with the designers themselves. Underlying the effort is a deep sense of community and a 'together we're better' attitude. Shoppers perusing Christopher John Rogers styles at The Collective Spearheaded by designer Jonathan Cohen and his business partner Sarah Leff, the initiative was built to foster change to the wholesale and retail system, allowing them to directly engage with customers, share their stories, and build a more connected, resilient future for American fashion. "We didn't want to wait for a solution—we wanted to create one," said Jonathan Cohen and Sarah Leff. 'The Collective is about taking control of our work, strengthening community, and turning an industry challenge into an opportunity to grow together.' The giving spirit was also in full force for the concept space, which the Freeman's | Hindman gallery donated. 'At Freeman's | Hindman, promoting art, design, fashion, and culture is at the heart of what we do. As America's oldest auction house and one of the only major auction firms with a full-time specialist team devoted to couture and the fashion arts in the secondary market, the opportunity to partner with the innovative designers represented by The Collective was an unmissable opportunity and offers a unique chance to engage with our shared audience of clients and creative community on the Upper East Side,' said Tanner C. Branson, Associate Vice President, Head of Department Luxury Handbags & Couture Helping to produce the three-day event were The Hinton Group, Ruffino, and Christina Neault, a veteran show and event producer based in New York, who donated services. Marina Larroudé helps a shopper with a shoe style selection at The Collective Spanning two floors and four studios, designers grouped in roughly sets of four to a room, arranged with styles and brands that both complemented and contrasted one another. The brands also represent RTW and accessories, making it possible to create head-to-toe summer looks. With Memorial Day just around the corner, presumably summer month outfitting is in high gear. While many styles were aimed at women's customers, men's apparel was also for sale. On the first floor, one room housed Christopher John Rogers' colorful stripe offerings, including a popular wrap halter style and swimwear, Batsheva's feminine polka dots, gender-inclusive EMOTE and Studio 189, the Ghana-textile-inspired, artisan-created collection by Rosario Dawson and Abrima Erwiah. Across the hall, Cohen's colorful floral and denim dressing offerings sidled up to Larroudé shoes and sandals. (Its founder, Marina Larroudé, has collaborated with Cohen and the two are close friends.) On opposite walls, Rose Assoulin's crisp and colorful stripe cotton options juxtaposed with Edvin Thompson's Theophilio collection, inspired by his Caribbean roots, infused with a downtown vibe. Upstairs on the landing, guests encountered some of the host's offerings in the fine jewelry. On display and coming to a live auction on June 18th were 1980s Angela Cumming for Steuban crystal and 18K gold drop earrings, an exceptional Bulgari Spiga wrap bracelet, a Cartier Trinity bangle, and a Temple St. Clair crystal and 18K gold amulet pendant necklace. Each item would pair with a myriad of clothing styles for sale. To the right was a room that featured Alejandro Alonso Rojas' Spanish-infused slinky silk charmeuses and chiffon dresses with Ronny Kobo's accessible-luxury cotton and knit sundresses. Selima Optique's sunglass counter between them made the room a one-stop garden party outfit destination. Gigi Burris helps customers with hat selections at The Collective. The gallery on the other side also hit the 'fit search. To pair with Maxwell Osbornes' anOnlyChild's self-blouson Tees and pleated khaki miniskirts, one needs look across the room to Presley Oldham's fresh take on pearl jewelry, Hunting Season's chic raffia bags, and Gigi Burris' straw hats, a de rigueur crowd pleaser in hot weather. Burris, the sole designer with a flagship store in Chinatown, surmised that an UES customer would respond well to her summer millinery collection. On opening day, the mood was buoyant, with most designers attending to their customers at the event, which also featured direct payments to the sellers. "The spirit of the first day was genuinely energizing—there was a real sense of community among both the designers and the guests. The space felt intimate but elevated, and the energy was warm, welcoming, and refreshingly personal. Customers responded not only to the curation and craftsmanship of the work, but to the fact that they were engaging directly with the people behind the brands. It felt like a true breath of fresh air compared to traditional retail environments," said Cohen. Many thought the concept could also travel across the country, especially to secondary and tertiary markets in mid-sized cities. "As for the idea of a traveling group trunk show—we love that thought. We've definitely imagined it as a next step, even if still loosely at this stage. The response so far has made it clear that there's a real appetite for something like this, and the portability of the concept feels exciting," Cohen added. The experience is continues May 19th from 11 AM to 6 PM and May 20th from 11 AM to 4 PM.
New York Times
07-03-2025
- Entertainment
- New York Times
Review: Batsheva, and a Dance Divided
To attend the return of Batsheva Dance Company to the Brooklyn Academy of Music on Thursday was to have your attention split in several ways. First was the split between the acts of theater happening inside BAM and those happening outside it. Batsheva is the most prominent dance company in Israel. Because of that, and because the company receives state funding, the group Dancers for Palestine staged a peaceful protest on the sidewalk and stairs, blocking several doors as they chanted 'Free Palestine!' and other slogans. And the work being performed inside, Ohad Naharin's 'Momo,' from 2022, is also a study in split attention — one dance laid over another, a double exposure. In the first, four bare-chested men in cargo pants move as a unit, slowly marching like soldiers or stepping hand-in-hand, as in folk dance. In the second, seven dancers — four women and three men (one in a tutu) — move as individuals, each introduced with a solo, expressing themselves in extraordinary feats of flexibility and eccentricity, as in most works by Naharin. For much of 'Momo,' these two tribes remain distinct, even while occupying the same stage and field of vision, accompanied by the same soundtrack — selections from 'Landfall,' an elegiac Laurie Anderson composition for the Kronos Quartet. Trading the positions of foreground and background, the two groups nearly touch, yet do not acknowledge each other. In the middle of this 70-minute work, the four men climb up a wall (equipped with handholds and platforms) at the rear of the stage and remain statue-still while the seven others bring out ballet barres and degenerate from doing ballet exercises to hanging on the bars like anti-conformist cool kids. (The soundtrack is now Philip Glass.) Later, Yarden Bareket, one of the women, gets up close and personal with each of the four men: nuzzling, clinging, pressing one down to his knees and pulling his face into her belly. This has the tension of taboo breaking. The men stay unresponsive. All this is formally fascinating, continually inventive and superbly danced. Naharin keeps establishing rules and rhythms, then breaking them. The somber tone is pierced by surprise and Naharin's cheeky humor — as when, amid a complex stage picture, one man among the seven starts twerking. The choreography for the four men, especially, is shot through with sculptural beauty and brotherly tenderness. Watching 'Momo,' though, you can't focus exclusively on form. The world rushes in. Not the protesters — who remained outside and were gone by the time the audience left the theater — but consciousness of the events they were responding to: the Oct. 7 attacks by Hamas and the brutal war in Gaza, which started after 'Momo' was made. Batsheva performances have long been shadowed by its country's crises, but the shadow has never before been this overwhelming. In a recurring motif, the seven each raise one hand. Every time the hands are raised, we hear a deep boom, like the impact of a bomb nearby. As the time between gesture and sound decreases, it seems as if the hands might be anticipating or even triggering the boom. The frequency of the sound increases. The boom becomes a beat. Do those raised hands signify complicity? Contrition? Solidarity? Resistance? 'Make it stop?' 'I'm in?' The art of 'Momo' is not to say. The dominant tone is antiwar, but the beauty of the choreography for the soldier-like men amounts to empathy. Near the end, both groups line up at the lip of the stage. Alone and together, the dancers rotate. One by one, though, each of the seven breaks off for a little solo. Some are tonally appropriate. Londiwe Khoza (extraordinary throughout) crumples to the ground. Nathan Chipps cups his hands to his mouth and shouts, maybe to warn, maybe to find someone in the rubble. Yet many of the solos seem like tone-deaf bids for attention, a choreographic choice that can be read as Naharin judging the potential indulgence of his signature style. Style can be a straitjacket, like the invisible ones that the four men seem to wear at one point. So can an artist's association with his or her country. The ballet section of 'Momo' might resemble recent pieces by William Forsythe, just as the climbing wall might recall similar ones in work by Rachid Ouramdane. But with those choreographers, these gestures don't unavoidably speak to the disasters facing Israelis and Palestinians. In a program note, Naharin writes about the necessity of reconciliation and a life of dignity for both Jews and Palestinians, and he offers a standard defense of art. 'Momo' is a statement of much more power and disturbing resonance. It is a dance that directs attention to what we see and what we don't see, intentionally or not. It is about the seemingly impossible difficulty of coexistence and its inevitability. The piece shows the distinction of art from life, and also the inescapable connections. Like life, it is unbearably ambiguous.
