Latest news with #collection
Vogue
an hour ago
- Lifestyle
- Vogue
Lafayette 148 New York Resort 2026 Collection
For resort, Lafayette 148's Emily Smith wanted to 'do something that sort of celebrated mother nature in some sense.' So she and her team packed up and took to the Arctic in search of the Northern Lights. In Norway, they went on many different adventures trying to see the celestial show. 'It's not a given that you're going to see those things; the first night there was a blizzard so we booked a tour—you kind of have to chase the light.' And chase the light she did, infusing her new collection with holographic details and their solid-color counterpart, a heavenly pastel palette. In the former category were a super-thin gold crackled leather explorer jacket and midi-length skirt, a sensible beige sweater woven with very un-sensible tinsel, and all manners of starry embellishments like sequins and Swarovski stones and buttons. A Northern Lights print in hazy pastels was developed directly from a photo Smith took while in Norway and used for a floaty, A-line dress layered over a spaghetti strap slip with allover sequins, and another crisp tan suit with tender pastel brushstrokes. 'Everything really speaks to the movement of the lights—you know, they're not static—they actually dance in the air, it's so beautiful,' Smith added. The lineup offers her devotees something for every moment of their lives: liquid silk gowns or the cool '90s alternative of a ballgown skirt worn with a classic knit for evenings out; and heavy cashmere ribbed trousers, coated cotton 'expedition jackets,' and workhorse sweaters (including a remix of the classic fair isle with fields of color instead of the classic geometric patterns), for wherever their very un-static lives might take them.
Vogue
an hour ago
- Entertainment
- Vogue
Luke Edward Hall's New Ginori 1735 Collection Is Inspired by Greco-Roman Pottery and the Bloomsbury Group
With a deep love for Greco-Roman mythology and an innate knack for storytelling, Luke Edward Hall's imaginative aesthetic has amassed a rapt fan base. And for his second collection in collaboration with Ginori 1735 (which launches today), the English artist taps into his signature folkloric whimsy to continue the narrative of Neptune, the Roman god and ruler of the sea. With Il Viaggio di Nettuno—A New Chapter, Neptune and his mythical cohort of winged horses and frantic octopuses leap across porcelain tableware in muted shades of butter yellow, sky blue, and peach. Photo: Courtesy of Ginori 1735 The collection picks up where the first voyage left off, with Neptune remaining the protagonist; Hall explains that the new direction primarily relates to the style and color. 'I wanted my drawings to be a little more graphic this time around, more monochromatic, and I wanted to play with the overall palette,' the artist tells Vogue. Whereas the first collection was splashed with punchy, saturated colors, this time around, earthier hues set the scene. 'I mixed tones like terracotta and forest green with soft, dusty shades of butter yellow, sky blue and peach,' he says. And because everything is based on his hand drawings, the borders and lines are perfectly imperfect. (Or as Hall puts it, a little wonky.) 'Also, the backgrounds are based on watercolor paintings, so they're patchy. I love this—I love imperfections. I was interested in the idea of recreating a hand-painted look with a printed product.'
Washington Post
a day ago
- General
- Washington Post
Bustling crowds and bus rides are part of the annual peony pilgrimage to Michigan
ANN ARBOR, Mich. — It's time to peek at the peak peonies. Visitors are making the annual pilgrimage to the University of Michigan this week to see -- and smell -- one of the world's premier collections of the garden plant, featuring showy red, white and pink blooms of countless shades and varieties.
Vogue
5 days ago
- Business
- Vogue
Khaite Resort 2026 Collection
Congratulations are in order for Cate Holstein, whose second baby, a girl, arrived the day before she was scheduled to present this resort collection. Chalk it up to the optimism and happiness a new birth brings, or simply to ongoing success—Holstein is on the verge of opening another new store, this one on Melrose Place in Los Angeles—but this was her most playful Khaite collection yet, styled with irreverence and exuding a freer spirit. The 'stealth woman' that she designs has a sunnier new disposition. The shift in attitude came across clearest in the way zebra-stripe pony skin mingled with sheer florals, and in the electric turquoise hue of ostrich cowboy boots and strappy evening sandals. The roomy cut of shirt-dresses in both solids and floral prints also conveyed a more laid-back sensibility. But if the vibes are different, these clothes are as deluxe as ever—the plongé leather of coats begging to be caressed and the equally pet-able pony skin of pants. The printed rabbit jackets she added to the mix are a sign of customers' changing attitudes about real fur, which had previously gone out of fashion. The all-important coat or jacket, the one piece that women are willing to spend money on because it does so much of a wardbrobe's hard work, both elementally and aesthetically, was an obvious focal point here. Holstein experimented with novel shapes, cutting jackets longer in front and at the natural waist in back, or adding side plackets to create sharp, dramatic silhouettes. In addition to plongé leather, she also used distressed leather, as on a bomber that reverses to shearling. Her tailoring is buttoned-up, quite literally in the case of double-breasted blazers and a single breasted leather jacket with chrome buttons from neck to hem. On the accessories front, there's a purple pony skin tote as vibrant as those turquoise boots. A PR rep pointed out that it would be great for weekend getaways, but you know what else it could look like? A rather eye-catching diaper bag.
Telegraph
7 days ago
- Entertainment
- Telegraph
‘We want people to feel like they're trespassing': Inside the V&A's latest venture
From the outside, it's a big-box building in the former Olympic Park. Inside, it is something else entirely: an enormous, kaleidoscopic cabinet of wonders, crossed with an Amazon warehouse. V&A East Storehouse in Stratford is the new home for the national collection of prized clutter. Tier upon tier of shelving groaning with objects seemingly in no particular order, from enormous antique armoires to couture gowns to a child's rocking horse to Keith Moon's drum kit. A week before opening, over three floors ascending to the roof and a fourth working floor beneath a glass mezzanine, museum workers scuttle around carrying boxes and wrestling with wrapping materials. It looks like a Richard Scarry illustration come to life. When Storehouse opens this Saturday the public will be free to wander around via glass walkways. Staff will go about their duties in full view. And anyone can get closer to the collection via an online Order an Object service. This place holds 250,000 objects, 350,000 books and 1,000 special archives. Make an appointment to view up to five items, seven days a week, 363 days a year, for free. 'It's our workshop, it's where we safeguard everything, and it's a deliberately public space,' says Tim Reeve, the deputy director of the V&A who is leading the project. 'You don't even need a membership card.' It is, he says, a museum turned inside out. 'We wanted people to feel like they're trespassing. Am I allowed here? That feeling of joy, seeing behind the curtain….' The 16,000 square-metre building is a retrofit of the former London 2012 Olympics media centre and the work of Diller Scofidio + Renfro, US architects of the smash-hit High Line public park in Manhattan. 'Rather than try to organise the V&A collection into taxonomies, we thought we would lean into the delirium of it,' says Elizabeth Diller, the architect behind the transformation. She cites the cabinet of curiosities as the model, a term first coined in Renaissance Europe to describe a private collection of treasures and a forerunner to the museum, and which these days refers to a hotchpotch of collected artefacts. Since the V&A's 1852 founding as the Museum of Manufactures, Prince Albert's pet project, its collections have grown to 'span over 5,000 years of human creativity' – and will keep growing. It's one of the world's biggest museums of decorative arts and design, custodian of everything from a 3,000-year-old Shang Dynasty jade ceremonial blade to David Bowie's costumes and ephemera (his archives will be accessible from September via a dedicated study room). Besides South Kensington, which displays 60,000 objects and draws three million visitors a year, more V&A outposts have arrived in recent decades, including V&A Dundee and a refreshed Young V&A (formerly the Museum of Childhood). View this post on Instagram A post shared by V&A East (@vam_east) Still there was not enough space. Government plans to sell the overflowing Blythe House, the V&A's former shared storage facility in west London, were announced in 2015 after which DCMS gave the V&A £63m towards a new one. More money was raised through private philanthropy. The storehouse may also help counter another problem: transparency. Museums are under pressure to reveal what they keep stashed away amid rows about restitution. By letting the public behind the scenes to see how the V&A protects, stores and catalogues objects, it makes itself less open to criticism. Visitors are not entirely abandoned to the packing cases: there are rebuilt architectural fragments to explore, bite-sized curated displays and suggested tour routes. Order an Object opened on May 12 and curators are fielding requests from researchers, students, designers, entrepreneurs and people who simply enjoy looking at beautiful things. What, I ask, is the most-requested item to date? 'A Balenciaga gown,' says Director of Collections Kate Parsons. 'We're expecting its visitors may be fashion students, but we won't know until they come.' What I ordered at the V&A Storehouse Designer boots These wet-look knee-length boots were made by the Japanese designer Kansai Yamamoto in 1971. This is no ordinary footwear: the boots were part of Yamamoto's 'Kansai in London' collection, which brought Japanese avant-garde design to the UK, wowed Bowie and Elton John and changed the direction of fashion for the new decade. Parsons takes the boots out of their box and allows me to handle them. They are tiny and cut delicately, the heels and calves shaped with precision. Close up, with their three-inch platform soles wrapped in electric-blue satin, their visual impact is much clearer. The boots borrow from ancient Japanese design but they are also futuristic, space-age artefacts. They would still look outrageous today. An ancient Egyptian tapestry This tapestry was hand-woven in Egypt in AD 300-600. Parsons removes its protective sheath and lays it on the table but it is too fragile to touch. At its centre is a woven vignette of a horseman in battle with another figure, surrounded by horned beasts. Around them are faint images of women with children. The legends the fragment depicts are lost to time but up close, its faded images of ancient human struggles and triumphs are extremely moving. A bass viol The V&A has a vast collection of musical instruments, so at random I choose a bass viol, made between 1648 and 1675 by the Oxford-based luthier John Baker, according to an inked label. Again it is too fragile to touch, but I peer closely at its highly polished sycamore body, its four strings knotted by human hands, its finger-worn ebony fret. According to the catalogue, the viol would have formed part of an ensemble of differently pitched viols known as a 'consort'. A Vivienne Westwood couture corset Part of the British designer's 'Cut, Slash and Pull' collection of 1990. I, too, once owned a Westwood corset (albeit from her cheaper ready-to-wear collection, black and gold with painted cherubs cavorting on the bodice), but I lent it to an acquaintance and it was never returned. Now cult items, these corsets sell for thousands of pounds. I'm struck by the ivory silk garment's diminutive size. Though it is labelled a 12, as was mine, it looks as if it would fit an actual 12-year-old. And while the corset is exquisitely cut, it was clearly worn a lot in the hedonistic 1990s – the silk is sweat-stained and its former owner's hairs are still caught in the zip. A transistor radio Arguably a proto-iPhone in that it was an early portable mass-media device. Nearly everyone had one in the 1970s, including me as a child. They sounded terrible, but they represented excitement: a broadcast from the exciting world of pop music right under my pillow. By the 1980s transistors were ousted by Sony Walkmans. I don't think I've seen one in 40 years. The V&A owns a pocket-sized Solid-state transistor manufactured by Sharp in 1970. It's a beautifully simple design, with its wheeled dials and Made in Malaysia label: all give me a Proustian rush. I'm struck by the density of its red casing, heavy and opaque, unlike modern plastics. Most Proustian of all are its vinyl case and wrist strap – perfect for dangling from a bike's handlebars. V&A East Storehouse, 2 Parkes Street, London E20, is open from May 31;
