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Beanie Feldstein Is Bringing the Fun Back to the Red Carpet

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Beanie Feldstein has become one of those celebrities you look forward to seeing on the red carpet not only because she seems delightful in interviews, but also because she wears fun, interesting clothes: a poofy-sleeved, printed-organza Simone Rocha dress with a beaded hair clip, a custom white Miu Miu shirtdress with matching Mary Jane heels, a regal off-the-shoulder Oscar de la Renta gown with a braided Baublebar headband. And she seems like she’s having a goddamn blast with it.

Feldstein’s been working with stylist Erin Walsh since early 2019, when she was brought in to help her with her wardrobe for South by Southwest (where her film “Booksmart” would be premiering). “We fell into each other — she was actually going to be working with somebody else and they canceled,” Walsh tells Fashionista over the phone from L.A. “I had one day to pull together my first fitting with her. Literally, it was one of the easiest, most fun fittings I’ve ever had.”





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Jessica Simpson recalls taking diet pills to lose weight at the direction of a music exec

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Jessica Simpson’s weight struggles have been well-documented, but for the first time she’s admitting that she relied on diet pills to stay trim — and started taking them when after a music executive told her she was overweight.

In yet another excerpt from her upcoming memoir, Open Book, Simpson recounts meeting then-Sony Music Entertainment honcho Tommy Mottola when she was a 17-year-old aspiring singer. She said he “wanted to sign me,” which she was over the moon about. “And then he said, ‘You gotta lose 15 pounds.'”

Simpson, who hadn’t yet graduated high school, recalled thinking, “What? I was five-foot-three and weighed 118.” She said star maker Mottola told her, “That’s what it will take to be Jessica Simpson.”

Hoping he would help her the way he did superstars Mariah Carey, Celine Dion and Jennifer Lopez, Simpson said she “immediately went on a strict diet, and started taking diet pills, which I would do for the next 20 years,” meaning she finally stopped taking them some time after going into recovery for alcohol and pill addiction in November 2017.

While Simpson did drop the weight she was asked to shed, she was starving. It also was harmful to her self-image, resulting in her calling herself horrible names.

Here’s Jessica Simpson in 1999 — two years after she started taking diet pills to keep her weight at 103 pounds. (Photo: KMazur/WireImage)

“I started to hear voices when I was alone at night, waiting for the sleeping pill to kick in: ‘Do more sit-ups, fat ass,’” she remembered thinking. “By the time we got to the release of my second album’s first single, ‘Irresistible,’ I was down to 103 pounds. Everyone went on about how great I looked, but I couldn’t enjoy it because I was so freaking hungry.”

Simpson said another directive of the label was to “show more skin.”

Yahoo’s attempts to reach Mottola, who now heads Mottola Media Group, were not immediately successful.

Tommy Mottola being honored with a star on the Hollywood Walk of Fame in October. (Photo: Albert L. Ortega/Getty Images)

In a 2009 Vanity Fair story about Simpson, both Mottola and Simpson spoke about their initial meeting. It took place in July 1997 — and Simpson said she was excited not just to potentially ink her first major record deal but because Mottola was married to Carey, who was one of her favorite artists. (Mottola and Carey had a bitter split the next year. In his 2013 memoir, he apologized to Carey for being “controlling” and “obsessive” toward her but said, it was “part of the reason for her success.”) The music exec didn’t hide that Simpson’s looks played a part in signing her to Sony’s Columbia division.

“She had a great little look and a great attitude, a fresh new face, and something a bit different than Britney [Spears] and all of them,” he told the magazine. “She could actually sing.”

The VF article also makes it clear why Simpson kept secretly popping diet pills for two decades. The article was all about whether she could reinvent herself after two boxoffice flops, an unpopular country music album — and especially after being photographed looking “fat” in mom jeans. The writer talked about it being a “danger sign” that pictures “turned up in the tabloids” that showed “the starlet, onstage, looking less than slender, holding the microphone like a turkey leg, and wearing” the jeans she was mercilessly ridiculed for. (Fun fact: The jeans were a size 4.)

Jessica Simpson performs at the 99.9 Kiss Country 24th Annual Chili Cook Off at CB Smith Park on January 25, 2009 in Pembroke Pines, Fla. (Photo: Logan Fazio/Getty Images)

The interviewer went on to describe Simpson — who details in her memoir how she became addicted to alcohol by using it to mask her anxiety — as “nervous” saying her “hands trembled” and detailed how “she ordered a glass of Pinot Grigio. It seemed to calm her. She didn’t want to talk about her weight, so, of course, that’s all I could think of — it gilded each question in my mind: What are you working on now [that you’re fat]? Do you see yourself as part of a class, with Christina and Britney [or are you too fat]?”

The interviewer also noted Simpson’s “extra pounds had gone back to wherever they came from, existing only in a few dated pictures on the Internet. Jessica was skinny again.”

Simpson’s weight struggles have been a narrative throughout her career. Her body was celebrated when she rocked those “Daisy Dukes” in the 2005 film The Dukes of Hazzard, but she was mercilessly ridiculed as well. Now a fashion mogul, Simpson always credited diet and exercise, with her long-time trainer Harley Pasternak, never revealing that she used diet pills as a crutch all that time.

Simpson also served as a Weight Watchers spokeswoman, using the program after having her first two children in 2012 and 2013. After the birth of daughter Birdie in 2019, Simpson lost an amazing 100 pounds in six months working out with Pasternak, going from 240 pounds to 140.

Open Book will be out on Feb. 4 and it’s already clear that it’s filled with some truth bombs. Simpson also recorded the audiobook as well as new music that is inspired by her memoir.

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Louis Vuitton’s Pre-Fall 2020 Lookbook Reminds Us of an ‘ANTM’ Photoshoot

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A look from the Louis Vuitton Pre-Fall 2020 collection. 

A look from the Louis Vuitton Pre-Fall 2020 collection. 

For Pre-Fall 2020, Nicolas Ghesquière imagined a series of Louis Vuitton muses as protagonists of horror movies and sci-fi novels. The finished product is a 24-page lookbook of film posters and book covers reminiscent of an “America’s Next Top Model” photoshoot — in the best way possible — which begs the question: Was Jay Manuel responsible for the creative direction? 

Sadly, the chipper bleached blonde did not have a hand in the fun project, but it’s hard not to think about cycle seven’s romance novel covers with Fabio when scrolling through the French house’s latest imagery. 

Instead of Fabio, Ghesquière gives us Jennifer Connelly in a scalloped lace pleated dress as the star of “Dreamkeeper”; Robyn wearing sequins and cool leather in “The Night Chaser”; and Jaden Smith as a pattern-mixing boy in “The Lost Planet.” There’s also Léa Seydoux in an “Exorcist” T-shirt worn under a shiny cocktail number; Emma Roberts in a scarlet red dress; Angelica Ross in a plaid skirt accessorized with giant moon boots; and Sophie Turner sporting a white suit, camel coat and the same moon boots. Billie Lourd, Cody Fern, Chloë Grace Moretz, Alicia Vikander, Stacy Martin, Kelsey Asbille, Doona Bae, Laura Harrier, Zhong Chuxi, Yaya, Noémie Merlant, Deepika Padukone, Woodkid, Rinko Kikuchi, Gugu Mbatha-Raw and Samara Weaving complete the cast, each one getting their own retro style pulp fiction moment shot by Collier Schorr. 





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Paris couture: somber, spiritual and classical

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They say fashion is a reflection of our times, and at a somber moment in the world – from Australian forest fires and conflict in the Middle East, to the never ending French transport strikes – this was the most reined-in Haute Couture season in Paris in many years.

Jean Paul Gaultier – Spring-Summer 2020 – Haute Couture – Paris – © PixelFormula

A season marked by the spirit of female empowerment, a radically reduced silhouette and, most memorably, by the farewell show of Jean-Paul Gaultier, bringing down the curtain on a half-century-long career, and also closing a huge chapter in French fashion: the Era of the Creator.
 
In terms of attitude, the struggle for womenʼs empowerment again took center stage in a season with multiple women couturiers. In terms of silhouette, there was a radical reduction in volume, along with an increased emphasis on classical forms, like at Christian Dior where the majority of the passages looked to have been designed for ancient Greek divinities.

Christian Dior – Spring-Summer 2020 – Haute Couture – Paris – © PixelFormula

 
“In my view goddesses are everywhere, in art and life, so why not in fashion?” commented Dior’s creative director, Maria Grazia Chiuri.
 
Dior managed to combine empowerment and classicism, with a collection staged inside a giant tent in the shape of a woman’s torso. Entitled “The Female Divine,” the piece was created by American feminist artist Judy Chicago.

Chanel – Spring-Summer 2020 – Haute Couture – Paris – © PixelFormula

 
At Chanel, couturier Virginie Viard referenced a more Catholic conception of spirituality. Viard sought inspiration from a trip to Aubazine, the austere Cistercian convent where Coco Chanel was sent aged 12 when her mother died.

The result was an ascetic yet frequently beautiful collection. Stylish check suits were cut three inches above the knee and anchored by black patent leather shoes and white schoolgirl socks, sharing the catwalk with dark gray wool pocketed dresses with scapular shoulders, or for women of real authority, black belted dresses with a long slit, like the one worn by Gigi Hadid – Chanel’s mother superior this season.

Givenchy – Spring-Summer 2020 – Haute Couture – Paris – © PixelFormula

A couture week definitely not devoid of romance, though again of an empowering sort. Like at Givenchy, where Clare Waight Keller’s bold floral collection referenced the legendary English garden Sissinghurst, a northern oasis that was, in part, the fruit of the love between two women – Vita Sackville-West and Virginia Woolf.  
 
Waight Keller played with plenty of volume at her show, attended by the founder of this recent couture obsession – Pierpaolo Piccioli of Valentino. Piccioli, however, really reined in his own houseʼs dimensions this week, working fabulously hued faille into remarkable swirls that recalled Technicolor movies, 50s screen goddesses and mid-century Italian socialites.

Elie Saab – Spring-Summer 2020 – Haute Couture – Paris – © PixelFormula

Elsewhere, we had a seductive surrealist romance at Schiaparell, while at Elie Saab out came an Imperial Mexican collection. There was sophisticated ethnographic style at Armani Privé with an Ikat-driven show, where Giorgio attracted the biggest star of the week, Reese Witherspoon.
 
Partly because it’s awards season in the U.S., the January season rarely attracts many movie stars. Add in the transport strike and concern about Yellow Vest protesters and this was the smallest number of major actresses we have seen at couture in a decade.

Giorgio Armani Privé – Spring-Summer 2020 – Haute Couture – Paris – © PixelFormula

 
On the final day, after all the major magazine editors have flown out as well, one could catch a half dozen young hopefuls. Experimental couturiers keeping alive the tradition of couture as the laboratory of fashion.

Like Yuima Nakazato from Japan, whose entire collection was made in a new material, Brewed Protein, a molecular-based fabric that is molded around the torso or body. To touch, it felt like very airy rubber, though unlike rubber, Brewed Protein breathes, so none of the models looked remotely sweaty post-show.
 

Yuima Nakazato – Spring-Summer 2020 – Haute Couture – Paris – © PixelFormula

 
Inspired by manga and cosmology, Nakazato created some fantastical shapes and silhouettes in floaty accordion pleats – topped off with remarkable plumage headgear.
 
One hour later, Tuscan-born Sofia Crociani displayed some remarkable profiles and contours. Mixing classical motifs with jumbled-up assemblages of fabrics. Think Praxiteles meets John Chamberlain. Fulfilling the other duty of couture – to be fashion’s laboratory.
 
Ultimately, though, this season will be remembered for the departure of Gaultier, whose 250-look show before 1,500 cheering fans and friends inside the Théâtre du Châtelet will go down in history as the happiest ever finale of any couturier.

Copyright © 2020 FashionNetwork.com All rights reserved.



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