Celebrity Life

Earlier this week, Supreme announced the appointment of Tremaine Emory – fashion designer and the founder of Denim Tears – as its new Creative Director.

Tremaine Emory, the founder of the subversive streetwear brand Denim Tears, has started his tenure as the Creative Director of Supreme earlier this week. Emory will work closely with the brand’s founder James Jebbia, while simultaneously designing collections for Denim Tears. Emory’s appointment marks the first time Supreme elected Creative Director since the brand’s acquisition by VF Corporation – a conglomerate that owns Vans, The North Face and Timberland. 

Emory made a mark by collaborating with the likes of Kanye West and Virgil Abloh. His brainchild, Denim Tears, is an innovative fashion brand that explores the history of cotton in the United States – an excellent example of uncompromised values and storytelling being at the core of a brand’s aesthetics. 

The decision to appoint Emory as the new Creative Director of Supreme signals the brand’s ambitions to start long-overdue conversations. Given the political edge that Emory possesses and his work on presenting and interpreting the painful history America has with slavery, Supreme will undoubtedly be stepping into the era of conveying socio-cultural criticism through fashion. Emory has always been vocal with his activism. The designer’s collaboration with Converse, for which he created a pair of sneakers featuring Marcus Garvey-inspired African American flag in 2020, was embargoed until Nike – Converse’s parent company – agreed to meet the artist’s demands of addressing systemic racism.  

It would be interesting to observe how Supreme will maintain its cult status while also embracing Emory’s vision for fashion that inspires to have often difficult (in the eyes of the wealthy white consumer mostly) conversations. The approach worked for Virgil Abloh’s Louis Vuitton and, to some extent, for Maria Grazia Chiuri’s Dior. A somewhat similar strategy, however, backfired for Brother Vellies, who was to be blamed for Alexandria Ocasio Cortes’s 2021 Met Gala dress.

The post Who is Tremaine Emory, the New Creative Director of Supreme? appeared first on Prestige Online - Hong Kong.

On February 11^th, New York fashion week returned and blessed us all with the latest collections of the city’s veterans, some fresh faces and enticing guest appearances. 

Here is our picks of the most memorable shows from the day 1 of New York Fashion Week:

Proenza Schouler

Proenza Schouler presentation was, by far, the most anticipated one during the first day of New York fashion week. Designers Jack McCollough and Lazaro Hernandez reappraised their beloved corseted silhouettes in a context more relaxed (as contradictory as it sounds). The collection was an interpretation of the pandemic-induced ‘comfort and ease’ style canons, as seen from relaxed yet perfectly constructed tailoring and full tulip skirts. McCollough and Hernandez made their stance on sneakers this season clear by deliberately rejecting the staple and, tastefully, replacing it with boxer shoes and precisely-cut leather ballet flats. 

Christian Cowan

Christian Cowan’s ambition to create ‘the highest high-fashion show ever’ paid off – partially due to the presentation taking place at the One World Observatory, overviewing Hudson river, but – mostly – due to the collection itself that could be aptly described as joyfully glamorous. Cowen-beloved sequins and feathers appeared throughout the collection: on the trims of the black blazer dress, gowns, skirts and a bishop blouse even. The feeling of the presentation felt like that point when a gala turns into a party – it profoundly captured the moment where the anticipation of a highbrow bacchanalia reaches its apex, merely seconds before the ball drops. 

Libertine

Surrealism seems to be the buzzword of the season. Libertine embraces the movement and intertwines it with 18th-century and punk references. Most of the prints were designed in-house, with some of them pulled from the archives of the brand’s first show in 2003. Eye and floral motifs rode alongside occasional solid colours – a direction meant to convey – simply – joy. Creative director Johnson Hartig also introduced a range of silk-printed headgear, from bucket hats to tricorns. 

A.Potts

In its Autumn 2022 collection, A.Potts offers its reappraisal of the casual wardrobe. The gender-neutral label leaned into experimentation with its use of boiled wool, velvet and bizarre forms like tentacles attached to the backs of some outfits. Aaron Potts, the brand’s founder, introduced a pleasing palette ranging from blush pinks and oranges to blacks – mostly monochromatic, with occasional animal and abstract prints. The patent leather looks stole the show; Potts managed to construct flattering silhouettes with ruched dresses, bulky coats and capes, attesting to the designer’s ambition to ‘tear down boundaries’.

The post Runway Report: New York Fashion Week Day 1 Recap appeared first on Prestige Online - Hong Kong.

Welcome to Euphoria high, where teens look like 35-year-olds and dress like anime characters. Nearly every look created by the cult HBO show’s costume designer Heidi Bivens had its moment all over social media (Maddy Perez’s infamous black dress has already been inducted in the memes hall of fame). Here is how you can create your very own Euphoria look, each inspired by the beloved trainwreck-high schooler.

Kat Hernandez

Kat Hernandez, played by Barbie Ferreira, paired The Cramps T-shirt with a nearly-sold-out Hotarium skirt. She went heavy on the nineties-inspired blue eyeshadow, creating a stark contrast to her stylistic persona in the first season of the show.  And although the central characters of the infamous bathroom scene of episode four of the second season of Euphoria were Maddy Perez and Cassie Howard, Kat’s presence and her soft intensity could not be overlooked, thanks to Ferreira’s brilliant portrayal of the character and Bivens’ incredible work in creating of melodramatic high school archetypes.

Proenza Schouler Cardigan

The Cramps T-shirt

Hotarium Skirt

Isabel Marant Necklace

Maddy Perez

Every single person who used social media over the past couple of weeks must have seen, at least once, Maddy’s skin-tight dress with a chest cut out from the first episode of Euphoria season two. Alexa Demie, who portrayed the character and is rumoured to be several hundred years of age, perfectly embodied the essence of a clique matriarch, whose ferocity only rivals the intensity of her relationship with the show’s antagonist Nate Jacobs. In the scene, Maddy paired her dress with crystal-encrusted Amina Muaddi sandals and a pair of silver hoops.

David Koma Dress

Ippolita Earrings

Amina Muaddi Sandals

Jules Vaughn

The character who experienced the biggest transformation since the first season of Euphoria is – by far – Jules. Not only did she debut short hair, but also turned from a manic pixie dream girl to a grungy emo siren. In the first episode of the second season, Vaughn sported a corset skirt worn under a slip dress – a tasteful homage to the cult style of the early 2000s, and much more refined at that. Jules combined the skirt-dress duo with a black hoodie and graphic eye makeup, for a look so characteristic of a true rebellious.

Dion Lee Skirt

Maroske Peech Slip Dress

Michael Kors Hoodie

Cassie Howard

Season two of Euphoria saw Cassie Howard go through her lowest of lows, as attested by the actress Sydney Sweeney’s mind-hauntingly messy performance in the hot tub in episode four. One episode earlier, however, Howard showed what a high school girl version of mania looks like, judging from her unintentionally Oklahoma-inspired look in the infamous bathroom scene. Howard paired a blue gingham blouse with a blue mini and tie-up boots – a bizarrely fabulous ensemble that sent her on yet another downward spiral.  

Caroline Constas Top

Self-Portrait Skirt

Whistles Boots

The post Where to Shop Some of the Most Memorable Looks from Euphoria Season 2 appeared first on Prestige Online - Hong Kong.

Ex-Creative Director of Salvatore Ferragamo has announced the return of his namesake brand to stores. Customers will have a chance to discover the first collection of the revived Paul Andrew in the coming autumn, with the first images of the line launching in March.

New York-based, British-born designer Paul Andrew, who rose to prominence after being appointed as the Creative Director of the Florence-based Salvatore Ferragamo, is reviving his namesake label in autumn, with the first round of images set to arrive in March. 

The collection will focus on a mixture of novelty, colour and wearability. The re-launch of the brand marks nearly a year since the designer’s exit from Salvatore Ferragamo. There, Andrew assumed the role of Women’s Footwear Design Director in 2016, making him the first person to hold the title in the brand’s history. Three years later, in February 2019, Andrew was promoted to Creative Director of men’s and women’s accessories. 

Before his tenure at Ferragamo, Andrew worked at Alexander McQueen, Narciso Rodriguez, Calvin Klein and Donna Karan, with his focus always being shoes and accessories. In September 2012, he first launched his eponymous footwear brand that solidified his standing as one of the defining designers of the 2010s. In its first season, Paul Andrew’s collection was picked up by major retailers like Saks Fifth Avenue and Barneys New York. Subsequently, Paul Andrew shoes found their way onto the shelves of Colette, Bergdorf Goodman and Lane Crawford. In 2015, Andrew collaborated with J.Crew as a part of the winner’s package of the 11th annual Council of Fashion Designers of America/Vogue Fashion Fund. He was the first British-born designer to win the award. 

Over the years, Andrew’s shoes gained a cult following among A-list celebrities and working women globally. Some of his most prominent patrons include Lupita Nyong’o, Emma Watson, Jessica Chastain and Emily Rossum.

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As Couture Week comes to an end, here's our selection of the best shows we saw this season. 

Although having a certain celebrity couple consisting of an actress and a rapper-turned-semi-religious-figure at the front row of Schiaparelli was not the pop culture moment it had hoped to be, the Couture shows proved that fashion can be a strip of light in this covid-induced limbo. 

Here are some of our favourite shows from Couture Week Spring/Summer 2022 

SCHIAPARELLI

Schiaparelli’s Haute Couture has become somewhat a pièce de résistance during the couture season. This time around, Daniel Roseberry delves into the mesmerising and, a bit frightening, worlds of sci-fi and takes us with him. As of late, Roseberry limits himself to the trinity of golds, blacks and whites in his palette, which, in turn, allows him to keep the audience’s focus on the extraordinary architecture of each piece. The gilded cage of a dress – with its stoned tentacles wrapping the body – created a vision of some Aztec deity (this author couldn’t help but think of late Thierry Mugler’s corsetry work). Some looks quite literally feature golden Saturn rings attached to cinched bustiers.

CHRISTIAN DIOR

It was all too vague, at first, to tell what exactly was the inspiration behind Maria Grazia Chiuri’s Haute Couture collection for Dior. Turns out, that was precisely the point. The designer chose her latest show to become a celebration of human connection and togetherness – the two components so inherent to the making of any couture collection. Chiuri creates an immaculate symphony of greys (hi, Kim Jones’ Fall 2022), creams and whites, with silhouettes so pure and embroidery so delicate, it feels like a light midsummer slumber. Chiuri’s signature off-shoulder dresses have undergone another transformation – this time – through adornment with pearl embellishments or styling with shimmery leggings underneath.

ALEXANDRE VAUTHIER

Alexandre Vuthier’s Spring 2022 Couture collection transported his loyal fans into the world of perpetual partying – power suits strode alongside feather-trimmed liquid gowns and slip dresses. Vauthier stays true to his signature palette of blacks, teals and reds with occasional pops of white, grey and baby pink. The collection is a dazzler. The Old Hollywood references are apparent: there is the crystal-studded padded dress à la Joan Crawford, Katharine Hepburn’s iconic grey power suit and Vauthier’s glamorous take on the flapper dress, updated with airy petals of chiffon and a gathered bodice. The show-stealer is, by far, the black velvet bodysuit with a feather-embellished sequined cape – an elevated take on a variation of the 1920s circus costume.

CHANEL

For a heritage brand like Chanel, every collection inadvertently becomes a retrospection. This time around, Virginie Viard looks at the 1920s as the source of her inspiration. To grant the collection a summery feel, Viard transforms the classic flapper dress into a garment more modern and dynamic by switching heavy beading with bits of chiffon. The roaring twenties staple – ostrich – is a prominent fixture in the line-up; the feather-embellished skirt with a side slit appears under a sculptured one-shoulder top, where camelia patterns are laid with black-and-white sequins. Bottom-heavy silhouettes dominated the Chanel runway, not only in the form of flapper elements, may I add, but also as white silk tulip skirts, paired so tastefully with stoned and frilled crop tops.

ULYANA SERGEENKO

Couture Spring 2022 seemed to have been an opportunity for the designers to dive into their roaring twenties fantasies. Russian designer Ulyana Sergeenko veered away from the quintessential 1920s costume and, instead, embraced the works of cubist artists and art deco aesthetics in her collection. Skirts, dresses and bustiers adopted geometric motives in the forms of embroidery that accentuated hourglass silhouettes. Sergeenko’s penchant for heavy-handed glamour made itself known as beads and crystals trickled down the black silk corset of a sleeveless dress styled with a boa made out of silk and chiffon.

JEAN PAUL GAULTIER

Glenn Martens's interpretation of of Jean Paul Gaultier's heritage for the Spring 2022 Couture collection was a dream. Canons of Gaultier’s own devisal – tiger prints, aerodynamic stripes, corsets – were masterfully interwoven with Marten’s subversive sensibilities; take the knit dress with sharp coral protrusions, for example. The collection seemed like Le Bal of the 22^nd century – emerald-green silk dress with the gathered armour-like bodice and cloud-shape skirt stole the show. Styling of satin corsets with denim seemed fresh and not at all watered down the high-octane feel of the show, while the colourful dress comprised of multiple layered sheer panels that revealed the stomach was the epitome of the Gaultier-Martens creative conversation. 

VIKTOR & ROLF

High-fashion vampires walked down the Viktor & Rolf Couture runway this season. Rolf Snoeren wanted to lean into the Nosferatu lore in interpreting the creature’s signature neckless look. The result was enticingly bizarre outfits ranging from suits to colonial dresses and coats. Snoeren and Hosrting devised a delicious, campy ambiance, fully utilising the literal references of the iconic horror films without stripping them to barely-recognisable motifs and – instead – offering a straightforward interpretation of the vampiric memorabilia – like Sadie Frost’s white funeral dress from Bram Stoker’s Dracula or Nosferatu’s very own cape.

VALENTINO

Pierpaolo Piccioli once again proves to be the couturier of the future. Valentino’s Creative Director shatters the elitist perception of high fashion by curating an inclusive show that features a diverse range of bodies, ages and genders (something pioneered by the late Manfred Thierry Mugler in the late nineties). The show had Valentino’s signature chiffon, ruffles, explosive greens and fuchsias. Piccioli declared that fuller people have what it takes to carry couture, as demonstrated by the chocolate-brown dress hand-embroidered with two kilos of glass beads. It was refreshing to – also – see men appear on couture runways, especially in the chainmail-inspired embroidered two-piece.

ZUHAIR MURAD

For his Couture 2022 show, Zuhair Murad opened the doorway to the Imaginarium of Rafael Sabatini, where Captain Blood traversed the seven seas. Murad applied his ingenuity and feel for glamour to create a pirate-inspired fairy tale, where the spectres of models walked in Tricorn hats dripping in jewels. Pirate bandana made an appearance in an ensemble with a suave pleated gauze gown, conveying the sense of romanticism and longing for adventure. The 18th-century-inspired tenues de soirée read ethereal and daring – at the same time – with tattoo-esque prints plumbing the depths of unapologetic sensuality without even the faintest hint of vulgarity.

FENDI

Kim Jones was the latest couturier inspired by the sci-fi world: Dune and Star Wars to be exact. Fendi’s métier was an ode to Rome imagined through a lens of some sort of space odyssey. The models embodied celestial goddesses in satin, velvet and sheer evening gowns. The floor-length number with tulip-shaped sleeves bore the image of the Virgin Mary, which inspired solemn melancholy. Baroque prints on some of the shorter pieces conveyed that alluring darkness – so characteristic of the monumental science fiction works à la Prometheus. There was a chiton-inspired midnight-blue silk dress trimmed with beads and a white mini dress with a print of an ancient Roman statue – both, among the rest, paying homage to the House’s heritage.

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New-York-based The Row – founded by the Olsen sisters – introduced its Fall 2022 Ready-to-Wear collection with an updated palette. 

The Row revealed its Fall 2022 Ready-to-Wear collection ahead of the New York Fashion Week. From the 42 looks presented, one could see the Olsen sisters' inventing ways to push the boundaries of the day-to-day nonchalance, while always staying true to the brand’s inner elegant codes. 

We are seeing even more colours infiltrating The Row’s infamous ‘muted wheel’ – a creative choice that first appeared, in a more subtle execution, in the brand’s Spring 2022 collection. The range emulated Mary-Kate and Ashley’s signature blazé garçonness through boxy cuts, dropped shoulders and dramatic scarves favoured by the elder sister in the early aughts. 

The beauty of every The Row collection is in the inherent versatility of its every component – this time – the shockingly vibrant colour palette did not compromise the stylistic opportunities of any garment. The oversized green cardigan – for example – styled with a chocolate-brown maxi skirt will work just as well with the pair of straight-cut wool pants in slate grey or brown or – even – with the navy-blue floor-length coat. Flipping through the lookbook, one cannot miss what can only be interpreted as Olsens’ attempts of veering into eveningwear, as embodied by the beige sleeveless gown with a green scarf as an accessory. Construction of the dress's bodice is excellent – strategically placed gathered details manage to create a flattering shape without leaning into eroticism or suggestiveness. The length of the piece – along with the draping of the heavy fabric – allows for this statuesque posture akin to a column, or, one could describe it as Galatean for the sake of precision and lyricism. 

The accessories presented were even more curious. There were various iterations of the beloved hobo bag in all the shades of tan, of course, but what stuck out like a piece of candy foil in the ashes of a cold fireplace, were the Everett and Margaux bags in gold metallic leather. Embracing the flashiness for just that one instance seemed like a genius way of making the collection look fresh and – dare I say – fun while also maintaining the elevated effortlessness, so sui generis of The Row.

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LVMH Luxury Ventures has announced the acquisition of a minority stake in the New York-based streetwear brand Aimé Leon Dore, founded in 2014 by Teddy Santis. 

The entity of the French conglomerate responsible for investing in emerging creative brands, LVMH Luxury Ventures, has invested an undisclosed sum into Aimé Leon Dore for a minority stake in the company. The Luxury Venture affiliate has previously invested in brands like Gabriela Hearst, Los Angeles-based beauty brand Versed, Hodinkee – New York-based watch e-commerce platform, and Officine Universelle Buly, a centuries-old maker of skincare, perfumes and other beauty products. 

Aimé Leon Dore – sometimes referred to as ALD – is one of the players responsible for the recent prep-streetwear renaissance. Their effortless yet suave designs, fuelled by the general aughts nostalgia and retrospective popularity of the classically collegiate films and TV shows, have garnered the brand a cult following in the face of Queens – and subsequently New York – fashion aficionados. Workwear references – so masterfully blended with preppy styles – are a response to Santis’s reflection on his Greek heritage, while the brand’s range of loungewear and varsity sweatshirts attempts to outline the idea of sophisticated Americana. The brand’s tour de force is, in many ways, informed by the “rediscovery of a style that was once a driving force in urban fashion,” writes Robert Williams in Business of Fashion.

ALD’s oeuvre gained reverence from the fashion youth because of its comfort and ability to speak to several popular aesthetic casts. Here are the knits and jackets for the preppy kids, parkas and bucket hats for that particular breed of hipsters who like to wear fisherman- and blood-sports-inspired attire in the city, and an abundance of colourful hoodies, sweatpants and scarves. ALD is also no stranger to brand collaborations – Queens-born label has launched several campaigns in partnership with New Balance and other footwear giants like Suicoke and Clarks.

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