Jewellery | Salon Deauville - Part 3



The Gang’s All Here

Brad Pitt ; ;

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Last night's Cinema Society and DeLeón Tequila screening of The Weinstein Company's Killing Them Softly was a joyful reunion—the gangster flick features a cast of longtime friends and colleagues, all of whom are veterans of the genre. "We've worked together a lot over the last 15 years," said Vincent Curatola of his costars James Gandolfini, Ray Liotta, and Max Casella. "Been to a lot of weddings and a lot of funerals." The gang decided to get together one last time for a different kind of mob flick. "It's a great gangster movie, but it's also funny. The humor made the whole thing more interesting to me," Gandolfini told Working with Brad Pitt was also a draw. "He's a character actor—some people you're working with their personality. But Brad is a true talent; with him you're working with that character." After such a long run as Tony Soprano, Gandolfini said that this would be his last gangster. "Well, until I need more money."

Guests moved downtown to No. 8 for the after-party, where Rose Byrne, Rachel Roy, and Francisco Costa all tried to catch a moment with Brad Pitt. Costa swooned, "We were on the same flight from L.A. to Paris a few months ago, and when I saw him tonight he remembered me!"

By | November 26th, 2012|Eyebrow Tips, Eyeliner, Glamour, Hairstyling, Jewellery, Nail color tips|0 Comments

All In

Haider Ackermann Spring 2013

All Aboard!

Style Hunter

All Aboard!

November 21, 2012 8:38 am

They’re card-carrying members of the Information Era, but downtown designers returned to the Industrial Age for Spring, giving railroad stripes a modern makeover on their runways. Joseph Altuzarra whipped up tailored blazers and “editors’ capes” from the sturdy stuff and underscored its utilitarian appeal with patch labels that riffed on the traditional Carhartt logo. Still, as we put it on our review , “no one is going to be driving spikes in these things,” particularly when the engineered outerwear is paired with decadent gold fringe. Rag & Bone’s Marcus Wainwright and David Neville showed their striped separates with doily lace and motocross leather, and they weren’t the only ones working on the railroad. The industrial pattern was given girlish spins at Suno, Sacai, and Marc by Marc Jacobs, too.

CLICK FOR A SLIDESHOW of Spring’s standout railroad stripes.

—Brittany Adams

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By | November 19th, 2012|Fashion News, Fine Living, Glamour, Hairstyling, Jewellery|0 Comments

This Story Has Legs!

Anna Dello Russo wears a dress and boots by Altuzarra

Anna Dello Russo is crouched on the floor amidst her fashion finery, dressed in a Ziegfeld-style feather headpiece, thigh-high boots, and a coin-strewn Altuzarra dress that weighs a minimum of 30 pounds.

"Ees-a bizarre!" she grins. I can't help but agree, although, in fact, this is relatively tame for Dello Russo, a woman who has carved a second career out of, and attracted a legion of new fans through, her outlandish dress sense. A split second later, however, I realize Dello Russo means "a bazaar," which is exactly what the room at her hotel, the Greenwich in Tribeca, resembles for today's photo shoot: a Marrakech souk, with Dello Russo hawking her fashion wares.

There, in a word, are the two sides of Anna Dello Russo. On one hand, she's a fashion editor, one whose enthusiasm for her subject is so unbounded she occasionally inspires chagrin among her fellow editors. On the other, she's a fashion collector, with holdings so famously massive that she requires a separate Milan apartment to house them. She's got enough that she could indeed sell her treasures. And thanks to a design partnership with H&M, in a sense she soon will.

For the uninitiated—who are relatively few these days—Dello Russo is creative consultant and editor at large of Japanese Vogue. But that day job was long ago superseded by her larger-than-life, 24/7 role of simply being Anna Dello Russo, woman of a thousand outfits—never a single one repeated. She's more than a woman. She's a brand. In the mold of a megastar, Dello Russo has her own fragrance, a sold-out line of limited-edition T-shirts, and most recently, an accessories line with H&M. She even released a single, "Fashion Shower," to accompany its debut.

This phenomenon of the celebrity as self-made brand isn't new. But the phenomenon of ADR—as she's known online, and in her catchphrase, J'ADR—suggests that not only is it here to stay, but it's infiltrating the rank and file of working stiffs, too. Before the era of street style, editors were chic if not particularly glamorous behind-the-scenes types. As the name suggests, they edited the magazines, but didn't star on the covers. But Dello Russo has begun to do that, too—for 10 magazine and Interview. "You should put your passion on yourself before translating the passion to your work," she intones in the heavily accented, slightly broken English that has become one of her trademarks. And she approaches dressing herself in much the same way as a fashion shoot. "Like a job, but on me" is her description of dressing for the four-week fashion marathon. The editorials she devises for Vogue are echoes of her own style: models splattered with head-to-toe, eye-popping prints, balancing oversize logos on their heads atop catwalk-fresh "total looks," or sporting designer shoes, galleons, or teapots nestled in coronas of curls. Dello Russo arrives at any number of fashion shows clad in more of the same.

Photo: Nick Haymes

That wasn't always the case. Dello Russo began her career at Vogue Italia in the early nineties. She often glosses over this formative training, the 18 years when, she says, Franca Sozzani "made my profession. She made me." Or at least, her first incarnation. If you spy Dello Russo in fashion show footage of the period seated alongside Sozzani or the late Anna Piaggi (another eccentric par excellence), she's virtually unrecognizable. "I was really fashion victim—I still am really fashion victim," Dello Russo says matter-of-factly. "I was following a different type of fashion at that time, which was minimalism. Big trend. Low-key, totally androgynous. I used to wear lots of men's clothes. Yohji, Comme. I was also not visible at this time."

Dello Russo adjusts one of her trademark headpieces

The idea of today's trope tornado as an "invisible" minimalist is mind-boggling, especially when Dello Russo is arguably the biggest and brightest rebel against fashion's current reductionist moment. "It was also my security at that time," she explains. "When I used to be 28, of course I would like to be cool rather than be by myself. For a certain moment you prefer to be part of the group and not be outside. Plus, this group was called Vogue—which was, for me, my Mecca, my Babylon. Anything for them!" That is the Anna Dello Russo familiar to fashion's lifers, if not necessarily to her new fans. "Everyone remember me in a kind of boyish look," she admits. "Because it was also easy to work in. Because I used to be a fashion editor then."

Today, however, Dello Russo has arguably become bigger than the magazine she helms: Her Vogue may be Japanese, but Anna has gone global. Her staff e-mail signature is the distinctly Warholian "Anna Dello Russo Factory," but Dello Russo's own fame is far outstripping any 15 minutes, showing no signs of abating. Once restrained, she's now playing to the back of the house. (She was born in Bari, in the south of Italy, which may help explain her aesthetic affiliation with the signature style of fellow southerners Gianni Versace and Domenico Dolce. "I'm obsessed by gold, logos, flashy stuff, a statement," she says—which could be a line from "Fashion Shower.")

It's fair to say that Dello Russo's transformation over the past decade to street-style superstar has raised fashion industry eyebrows, and occasionally hackles. "I can't wear that, Anna has worn it," is something I've heard more than one stylist snarl. It also doesn't help that she has pricked the elitist "insider" bubble to broadcast high fashion far and wide. While many of the old-guard editors sniff at online coverage, Dello Russo blogs, tweets, and Instagrams; she'll stop for any and every street-style photographer, not to mention any fan. Her ritzy, glitzy fashion is easy for anyone to understand, and with the advent of the H&M collection, easy for anyone to enjoy. "The message is having your own fashion week," she says. "You can play with low budget, but you can renovate your wardrobe like if you were front row." Undoubtedly that kind of thinking scares and irritates some fashion folk. If Dello Russo hears their muttering, however, she doesn't care. "I found some confidence with myself. Be back to my roots. Fantasy, crazy outfit. It's like a new life," Dello Russo states. "After that," she declares of her invisible moment, "it was kind of a revenge."

Dello Russo's "revenge" on the fashion industry was to cast caution to the wind and explode as a fashion icon clad in the highest of high-octane high fashion. "I used to be like Cinderella, working hard in the kitchen," she says with a smile. "Now finally I've been invited to the ball." She's cast off her minimal moment; seeing her in a lampshade-skirted Mary Katrantzou number feels like a flashback to eighties Lacroix rather than nineties Lang. But it still makes Anna something of an outsider. The fashion paparazzi may throng her in the Tuileries in Paris, but the attention and adulation is outside the tents. Inside, though her graciousness ensures she has many friends, the response is inevitably more muted.

But if that's so, it may be because Dello Russo—for all her love of fashion—has become bigger than the system itself. "This public side of me give me a certain power and freedom," she declares—the "power and freedom" to help define fashion for the masses, Dello Russo-style. Her Vogue spreads continue to reach the privileged and self-selected few, but it's the wider world she is speaking to with her H&M collection, her blog, her hunger for media attention. Her message is a seductive one: of positivity, fun, and infectious optimism achieved through style. Perhaps it's so potent because it's what's missing from much of fashion today. Or maybe Dello Russo's outfits, and persona, are quite simply louder than anyone else's.

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Photo: Nick Haymes

By | November 19th, 2012|Eyeliner, Glamour, Jewellery, Luxury, Makeup, Star News|0 Comments

The Bling Ring

By | November 19th, 2012|Color tips, Eyebrow Tips, Fine Living, Jewellery, Leisure News, Luxury, Makeup|0 Comments

Kate the Great

Marc Jacobs and Kate Moss ; ;

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Most fashion watchers rank Kate Moss somewhere in the top ten of model greats, but not Twiggy: "Kate is the best model that ever lived. End of." It was hard to argue with her last night at a party thrown by Marc Jacobs to celebrate the super and her new book, Kate: The Kate Moss Book, at London's private members' club 50 St. James.

A roll call of A-list friends pitched up to congratulate Moss on the 368-page tome, which features some never-before-released images from her 20-year career. Among those raising glasses were Florence Welch, Liberty Ross, Riccardo Tisci, Donna Karan, Kristen McMenamy, Cara Delevingne, Lucie de la Falaise, and Boy George.

"She is and was a game-changer," Patti Hansen told "When she came along, there was a shift in fashion and how people viewed clothes and style. There will never be another one like her in the industry."

By | November 16th, 2012|Color tips, Eyeliner, Fine Living, Jewellery, Leisure News, Luxury, Nail color tips|0 Comments

Hitchcock Blondes

Do men prefer blondes? Alfred Hitchcock certainly did. The director's flaxen heroines were aloof beauties; frosty, but with fiery streaks beneath. They made the best victims. As Hitch once quipped: "They're like virgin snow that shows up the bloody footprints." His obsession with casting (and, well, torturing) fair-haired leading ladies has been documented in two new films, out this fall. Both movies take close looks at his troubling relationships with his stars. In HBO's The Girl, Sienna Miller plays Tippi Hedren, who survived a ferocious flock of live birds and worse before breaking her contract with the esteemed director.

In Hitchcock, Scarlett Johansson takes on the role of Janet Leigh in a behind-the-scenes recreation of the making of Psycho. Leigh was hacked to pieces and earned an Oscar nod; some women never took showers again. Talk about a lasting impression.

—Fiorella Valdesolo

By | November 15th, 2012|Jewellery, Luxury, Makeup, Star News|0 Comments

Interviews With Vampires

Kellan Lutz with Ashley Greene ; ;

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"Fashion is really about a darker mood this season, and this movie suits that," Jason Wu told last night at Finale club on Bowery, where he was celebrating the release of The Twilight Saga: Breaking Dawn—Part 2 with his pal Dakota Fanning. "She was with me the other night at the CFDA/Vogue Fashion Fund Awards, so I really wanted to come here to support her." The vampire wore midnight blue Valentino for the occasion.

Kristen Stewart and Robert Pattinson were no-shows at the screening hosted by the Cinema Society with The Hollywood Reporter and Samsung Galaxy, but otherwise, the cast was out in full force. Peter Facinelli, Elizabeth Reaser, Maggie Grace, Mackenzie Foy, Lisa Howard, and Casey LaBow mingled with designers like Rachel Roy and Nanette Lepore. And while the press tour for the final movie in the Twilight saga will likely go on for weeks, the actors were dwelling on endings. "I think part of coming into myself is just growing up, and becoming more comfortable in my own skin," said Ashley Greene, who wore a corseted Donna Karan gown, also midnight blue. "Over the course of time I've figured out what works for me and what doesn't—being on a lot of carpets helps me navigate that." For Kellan Lutz, celebrating in the Big Apple had special significance. "When you do five films, all of which are meaningful, it's a long road trip with lifelong friendships, and to have this be the final premiere here in my hometown means a lot to me."

By | November 15th, 2012|Eyeliner, Fine Living, Hairstyling, Jewellery, Leisure News, Lipstick, Luxury, Makeup|0 Comments