Dress For Wedding

Change is underway at Céline. In July, the LVMH Moët Hennessy Louis Vuitton-owned brand announced that its CEO, Marco Gobbetti, was leaving to take up the same role at London-based brand Burberry. This past week we learned that Loewe has tapped a new chief executive officer: Pascale Lepoivre, who has joined the Spanish leather goods firm from Céline, where she had been the number two executive under Gobbetti.

The recent changes come on the heels of an array of rumors that Céline’s creative director Phoebe Philo was looking to leave the house. She was reportedly offered Raf Simons’ former position at Christian Dior following his departure last year, but the parties encountered difficulties in closing the deal when Philo insisted upon bringing her team with her to Dior. If this sounds familiar, it should. Marc Jacobs was reportedly in a similar situation in 2011 when Dior was looking to fill the very same position following the expulsion of John Galliano after his anti-Semitic outbursts at a Paris café.

Simons ended up getting the Dior creative director job, as opposed to Jacobs, in large part because Jacobs, who was serving as the creative director of Louis Vuitton at the time, reportedly wanted to bring his entire design team from Louis Vuitton to Dior. This was a non-negotiable element for LVMH Chairman Bernard Arnault, who holds Christian Dior as his most treasured brand. As WWD noted upon Simons’ departure last year, “It is understood the scope of the Dior job ― limited to the women’s universe, and with a grandiose boutique design by American architect Peter Marino considered off-limits to alteration ― proved a hindrance to interesting certain candidates during the search in 2011 and 2012.”

As for Lepoivre’s exit, Pierre-Yves Roussel, Chairman and CEO of the LVMH Fashion Group, told WWD last week that there is “a very strong product team [in place] at Céline and we will soon be making some announcements about the team. We have some very good people joining the project, besides the CEO role.”

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We grow these for morale,” says Sarah Ryhanen, gently cupping a pale-coral poppy. “They’re bad cutting flowers. They only last a day―but when you see them in the field, they’re so beautiful.” Milkweed blossoms dance overhead as the owner of the beloved Brooklyn florist Saipua continues down the rows of dahlias, black scabiosa, and amethyst Queen Anne’s lace on her 107-acre Worlds End farm in upstate New York. Teaching others to appreciate ephemerality has become a battle cry of sorts for the florist-farmer. “We have people coming into the store all the time asking, ‘How long is this gonna last?’ I want them to have an experience with it.”

Ryhanen and her partner, Eric Famisan, purchased the farm in 2011, but when asked how long they have been here they count in seasons. This isn’t the only sensibility they share with fashion designers, who are increasingly drawing inspiration from the fantasy of vast, untended landscapes and the slow pace of thoughtful living. From Proenza Schouler’s careful craftsmanship to Erdem’s refulgent fil coupé blossoms, the muse is Lauren Santo Domingo meets Laura Ingalls Wilder adrift in the chicest field, through the lens of Terrence Malick.

It’s a countermovement to our age of fast fashion and instant gratification, one that values the time and the patience to see something through from start to finish. To be sure, Ryhanen and Famisan are part of an expanding coterie of urbanites turned farmers―call them yappies, or young agricultural professionals―but what they’re up to here in the Mohawk Valley strikes a chord that echoes through a variety of industries. Flowers supplied by Saipua for events are returned to be composted, making Ryhanen’s arrangements some of the few in the world that are nurtured from seed to mulch. She plans to apply the same philosophy to this year’s flock of 27 Icelandic sheep, named after military call codes (last year’s were Top Gun characters). Their wool, skirted, dyed, and spun by Ryhanen, will be knit into hats by her mother, in nearby Peekskill. “It’s a six-month process. You’d have to charge $10,000 for that hat to make any money, but my goal is to inspire people to think more about where their clothing is coming from. So next time you see a sweater at H&M for $20, you’re like, ‘Oh, that’s acrylic; that’s plastic.’”

Kate Huling, of Marlow Goods, is another exemplar of the farm-to-fashion ethos. Huling purchases the hides of the same grass-fed cows sourced by her restaurateur husband, Andrew Tarlow (Diner, Marlow & Sons, Roman’s), for her line of handsome leather goods. And while Phoebe Philo isn’t personally curing the leather for Céline’s latest Cabas, the designer does acknowledge a pull toward the great outdoors. “It’s about taking her out of urban life and putting her feet on the sand. It’s where I long to be more and more,” Philo explained of her vision for a recent collection. Jamie Hawkesworth’s fall ad campaign for Alexander McQueen is as much a celebration of desolate landscapes as a showcase for the house’s hand-embroidered ensembles. McQueen designer Sarah Burton even took her team to the Shetland islands to meet the knitters and weavers―and sheep―who will be providing the knitwear for upcoming collections.

“When you’re so obsessed with control, you’re not open to happiness,” says Ryhanen, wearing vintage denim and tread-soled farm boots, her favorite hen, Goldie, nestled under her arm like a fragile football. She plucks two yolk-yellow cherry tomatoes from the vine, hands one to me, and pops the other in her mouth like a gum ball. “There was one day last fall,” she says, “where I was dealing with an injured, bloody sheep in the morning and then that evening I was at MoMA debating with some women from Louis Vuitton about whether a peony was white enough for the event I was doing for them. One is not better than the other. The reality is I appreciate that someone cares so much about what color white a peony is. It lends significance to what I do here on the farm.”

We pull carrots for lunch, which are washed, roasted, and tossed in a salad with Russian kale, cucumbers, and coriander seeds. Communal meals are a daily ritual at Worlds End and at Saipua. Today the group discusses the weekend’s elderberry-foraging workshop and that evening’s meteor shower. Our centerpiece is a china pitcher erupting with yellow cosmos, Queen Anne’s lace, and various wildflowers from the garden. Ryhanen encourages everyone on the farm to create spontaneous arrangements. The fact that this one, like the field poppies, might not last through tomorrow’s lunch is of little concern. It’s important to have things just for morale.

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Supermodel Gigi Hadid is the latest celebrity to be ambushed by infamous Ukranian prankster Vitalii Sediuk.

Fresh off the runway at the MaxMara presentation in Milan, Hadid was accosted after exiting the show hand-in-hand with her younger sister, Bella Hadid. An unknown man, thought to be Sediuk, grabbed Hadid from behind and carried her off the ground.

The entire incident, caught on camera, shows the 21-year-old defending herself and giving the attacker a sharp elbow, while her sister fights to free her. Hadid can be heard saying. "Let go of me. Who the f― are you, you piece of shit?"

Sediuk has a long history of red-carpet stunts, from attempting to kiss Will Smith at the Men in Black 3 premiere in Moscow in 2012, to hiding under America Ferrara's dress at the 2014 Cannes Film Festival and tackling Kim Kardashian at the Balmain show during Paris Fashion Week.

Hadid took to Twitter after the incident to defend her actions after one article accused the model of "aggressively" lashing out at a "fan."

"To the unknown article writer: fan?!!! The ACTUAL fans that were there can tell you what happened. I'm a HUMAN BEING," she Tweeted, before adding, "and had EVERY RIGHT to defend myself. How dare that idiot thinks he has the right to man-handle a complete stranger. He ran quick tho."

Hadid has been stealing headlines since New York Fashion Week, when the model launched her collaboration with Tommy Hilfiger. In addition to walking the MaxMara runway with Bella Hadid in Milan, the sisters also hit the catwalk together for Fendi on Thursday.

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Let Liz Uy, Kim Jones, and Pia Wurtzbach Show How to Dress for Fashion Week

When you’ve got back-to-back fashion weeks in New York and London, you’re going to need a suitcase-full of clothes to get by. Or, if you’re lucky enough, designers will let you wear their pieces to watch shows.

Either way, you need to be fashion-ready in case someone randomly snaps you on the street. At the same time, you should be able to run around to get to the next show. For this, we take cues from local celebs and recent fashion week attendees Pia Wurtzbach, Kim Jones, and Liz Uy.

When the sun is out, it’s always good to have your shades with you. Plus, it’s easy to pair them with almost any style―sleek and corporate-looking or even laidback.

A coat or a bolero is ideal if you get chilly at the venue. You can opt for neutral-colored pieces or ones with bold prints.

That said, you can even experiment with unconventional layers―top your long-sleeved polo with a cropped blouse or a long coat over your lace outfit. Another option is putting two different prints that work together.

Sometimes you can get much more from minimalist styles. Lessen the hassle of mixing and matching with monochrome clothing.

You can even add some color to your monochromatic outfit with some statement shoes like these gold pumps.

Of course, you can also wear playful prints to shows and maybe catch a few heads turning your way.

It’s important to bring long skirts or wide-legged pants to the trip for that instant sophisticated look. Also, to conceal your flats or sneakers if needed.

And you mustn’t forget your trusty denims for that semi-laidback look. One good tip is to get skinny jeans, fold the hems, and wear your favorite heels or boots.

Accessories are also a must to complete your look. You can either go over-the-top with chunky pieces or tone it down with small baubles.

Also bring a bag with you to carry your necessities like a compact, cellphone, and cash. But make sure that it’s not too bulky and heavy like a small clutch or handbag so you can carry it around anywhere.

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Henry Holland SS17 show report: London Fashion Week

“I’d been feeling very nostalgic,” said Henry Holland backstage at his spring summer 2017 show. It’s 10 years since he broke onto the scene at Fashion East with a collection of slogan ‘groupie’ T-shirts. His next season collection, shown in the Topshop showspace in the heart of Spitalfields market, featured a decade of self-references infused with a little (or a lot) of gypsy glamour.

Giant discoid sequins covered micro crop tops and oversized flares in homage to Holland’s love for the polka dot, and the slogan tee was back. A finale of girls marched down his runway in newly reimagined groupie T-shirts. The 15-strong collection will form his ready-to-buy offering. Captioned with slogans such as ‘Wanna Party Hillier Bartley,’ and ‘Let’s Breed Bella Hadid,’ they were a chance for Holland to note all the changing faces of It girls and designers in the industry: to “all those I love and admire that I didn’t get to [honour] last time, as they didn’t exist,” he said backstage. “I wanted to nod to different points throughout our 10 years and to reflect our heritage.”

Holland had also been inspired Josef Koudelka’s photography of gypsy communities from the Eastern Bloc. “There’s something about their style that’s so unique,” he says. “It’s a bit 60s and 70s, but very traditional. I mixed that with a bit of modern gypsy.” Traditional shirting fabric in an enlarged gingham print was worked into off-the-shoulder mini dresses covered in frills and skirts and blouses that flounced.

Apron-fronted dresses tapestry florals were cinched with suede belts that added a slightly western element. Sportswear came in the form of hoodies slung low around the hips, and tracksuits were cuffed with gingham ribbons. All the looks were worn with heaps of attitude and enormous gold hoop earrings. Noa Eshkol’s patchwork art was strewn across sweaters worn with floral slip dresses. It was chaotic, fun and free: a bit like the travelling community (the show was titled Free to Roam), and quintessentially Holland.

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