PRESS HIGHLIGHTS 2/26/18 – 3/8/18
FEBRUARY 2018
S D R A AW S O N SEA
IAL C E SP OSCAR NOMINEE MARGOT ROBBIE
316 GORGEOUS PHOTOS
DAZZLING JEWELS! THE HOTTEST FASHION TRENDS
100 BEAUTY
SECRETS
SUBSCRIBER EXCLUSIVE
STUNNING
RED CARPET STYLE 2018
STYLE THAT INSPIRES From her undeniable talent to her confidence on the red carpet, Oscar nominee MA R G O T R O B B I E is a force all her own By S H A R O N K A N T E R
Few stars turned heads this year quite like Margot Robbie.
Robbie never fails to surprise and delight on the red carpet. For the Screen Actors Guild Awards, the star complemented her beadand-feather embellished Miu Miu design with a “soft and boudoir” beauty look, says makeup artist Pati Dubroff for Chanel. “It was natural with a little something extra.”
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Red Carpet Style PEOPLE
CHRISTOPHER POLK/GETTY IMAGES
STATEMENT STYLE!
And it’s not just because of her glamorous appearance. The Australian actress and producer, 27, is the embodiment of what it means to be a leading lady in Hollywood right now, with her talent, determination and, yes, beauty culminating in a confidence that radiates and a career that can’t be stopped. Robbie herself credits her triumphs to an intersection of opportunity and fate. “I believe in luck, but I believe in making your own luck even more,” she said while accepting the Excellence in Film Award at the 15th annual G’Day USA Los Angeles Gala in January. “Waiting for doors to open or opportunities to come knocking means that you’ll probably be waiting a really long time. You’re probably better off going and knocking down those doors yourself.” She’s busted through quite a few thus far: Not only did she earn her first Best Actress nomination at the Academy Awards for her role as disgraced figure skater Tonya Harding in I, Tonya, but she produced the movie too. (She launched her own production company LuckyChap Entertainment in 2014.)
STYLE
With Tonya Harding, who inspired her award-winning role, at the L.A. premiere of I, Tonya in December.
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Red Carpet Style PEOPLE
About the Look
—Stylist Kate Young
‘THIS FEELS LIKE THE PERFECT WEDDING DRESS!’
IN VERSACE
IN RODARTE
—Stylist Kate Young
IN ALTUZARRA
‘WE LOVED THIS B E C A U S E I T WA S S O WEIRD BUT ALSO COOL AND INTERESTING’
IN MICHAEL LO SORDO
About the Look
IN DOLCE & GABBANA
—Stylist Kate Young
IN CHANEL
•
‘WE CHOSE HER GOLDEN GLOBES GOWN FROM A PILE OF SKETCHES’
IN VERSACE
we’re on the same page,” says Young.
About the Look
IN GUCCI
Therefore, everything she wears on the red carpet—from an edgy chain-mail gown to an ethereal slip dress—is meant to communicate her unique ambition and drive. “She’s superstrong, powerful, smart and full of life, so I want to capture all of that,” says stylist Kate Young, who has worked with Robbie since her first Oscars appearance in 2016. (The star’s glam squad also includes makeup artist Pati Dubroff and hairstylist Bryce Scarlett.) At the same time, her looks are meant to inspire women watching her to feel their best too. “I want people to be excited when they see her,” says Young. “I want them to want to wear a dress like hers to the prom or their wedding or a special event.” That’s because ultimately Robbie’s red carpet evolution epitomizes the modern multifaceted HOW SHE woman, a feat that PICKS HER continues to dazzle DRESSES even those closest Margot Robbie to her. Says Young: meets with stylist Kate Young every “Even though two weeks for I’m used to her in 90 minutes to go real life, every over day and time I see her evening looks, on the red and they FaceTime in between carpet, I think, sessions to confirm ‘Wow, she’s their wardrobe absolutely plans. “We talk a magnificent.’ ” lot to make sure
FROM LEFT: PG/SPLASH NEWS; FRAZER HARRISON/GETTY IMAGES; E-PRESS/SPLASH NEWS; BROADIMAGE/ SHUTTERSTOCK; STEVE GRANITZ/WIREIMAGE; J. KEMPIN/GETTY IMAGES; DAVE ALLOCCA/STARPIX/ SHUTTERSTOCK; BROOK MITCHELL/GETTY IMAGES; KEVIN WINTER/GETTY IMAGES
‘WE LOVED HOW THE CLEAN LINES COMPLEMENTED THE S P A R K LY S I LV E R A N D B E A D E D D E T A I L’
IssueDate PEOPLE
—stylist Law Roach
IN VIVIENNE WESTWOOD COUTURE
FROM LEFT: STEVE GRANITZ/WIREIMAGE(2); BROADIMAGE/SHUTTERSTOCK; TAYLOR HILL/GETTY IMAGES; NEILSON BARNARD/NBC/GETTY IMAGES
IN ELIE SAAB IN PRADA
IN ESTEBAN CORTAZAR
IN ALTUZARRA
IN GIVENCHY
—stylist Elizabeth Stewart
‘SHE’S ALL ABOUT T H E B L I N G —S H E L O V E S HER DIAMONDS!
While the Best Supporting Actress nominee for Mudbound and acclaimed singer, 47, has graced many red carpets throughout her music career, this is her first official red carpet season as a film star. “Mary’s incredibly honored to be welcomed by Hollywood, and she’s having so much fun with it,” says her stylist Law Roach. Her sartorial choices “stay true to Mary’s DNA—she’s the queen of hip-hop soul, and I want her looks to show her strength, courage and tenacity.”
MARY J.
BLIGE
IN ALBERTA FERRETTI
About the Look
About the Look
IN RAMI AL ALI
IN CUSHNIE ET OCHS
Communicating confidence through style is an important aspect of dressing the star of Wonder Woman, 32, says her stylist Elizabeth Stewart. Together that’s just what they do, often choosing “clean and streamlined looks with a twist” and slipping Aldo flats and Rocket Dog flip-flops under her gowns because “Gal likes to be comfortable.” The getting-ready process has also become a fun bonding experience for the superhero actress. Says Stewart: “She is very relaxed, and her beautiful family is always around her.”
FROM LEFT: CHELSEA LAUREN/VARIETY/REX/SHUTTERSTOCK; SILVERHUB/SHUTTERSTOCK; JON KOPALOFF/FILMMAGIC(2); NICHOLAS HUNT/WIREIMAGE
GALGADOT
IN JEAN-LOUIS SABAJI
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SAOIRSE RONAN
IN OSCAR DE LA RENTA
‘WE TRIED ON THIS D R E S S A F E W D AY S B E F O R E THE GOLDEN GLOBES, WHILE B A C K S TA G E AT J I M M Y KIMMEL LIVE!’ —stylist Elizabeth Stewart
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Red Carpet Style PEOPLE
‘WE DROVE THE GUCCI TEAM CRAZY HOLDING ON TO THIS LOOK FOR SO LONG—BUT WHEN SHE WORE I T, I T W A S P E R F E C T ! ’
IN LOUIS VUITTON
IN GUCCI IN RODARTE
IN ATELIER VERSACE
—stylist Elizabeth Saltzman
IN ALESSANDRA RICH
JESSICA CHASTAIN
FROM LEFT: RUNE HELLESTAD/CORBIS/GETTY IMAGES; DIMITRIOS KAMBOURIS/GETTY IMAGES; ALBERTO E. RODRIGUEZ/GETTY IMAGES; FREDERICK M. BROWN/GETTY IMAGES; JOHN SALANGSANG/SHUTTERSTOCK
The style of the Molly’s Game star, 40, has become synonymous with Old Hollywood glamour, which her stylist Elizabeth Stewart credits to her inherent “magical quality— it’s all her; the clothes are secondary.” Though it helps that the actress and Stewart capitalize on that signature look with ensembles that have “a defined waist and great color,” says the stylist. “Jessica is not afraid of anything,” Stewart adds—and that goes for fashion and beyond.
“Confident, feminine and cool are a big part of Saoirse’s wonderful personality, and all of these traits come out in her clothing choices,” stylist Elizabeth Saltzman says of the Best Actress nominee for Lady Bird, 23. Hence she can easily swing her style from romantic and ethereal to bold and edgy. Says Saltzman: “It’s exciting for us to work with so many talented designers, and when you add Saoirse to the mix, the red carpet becomes magical.”
About the Look
IN ALEXANDER MCQUEEN
IN ARMANI PRIVÉ
IN ZUHAIR MURAD COUTURE
About the Look
FROM LEFT: JEFF SPICER/GETTY IMAGES; NEILSON BARNARD/GETTY IMAGES; ROB LATOUR/SHUTTERSTOCK; VALERIE MACON/AFP/GETTY IMAGES; MIKE COPPOLA/GETTY IMAGES
IN CALVIN KLEIN 205W39NYC
STYLE
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ALLISON JANNEY
STYLE
IN MICHAEL CINCO
NICOLE KIDMAN
About the Look
‘THE FLAMES ON THIS DRESS RESEMBLED TRADITIONAL FIGURES K AT I N G L O O K S , WHICH SEEMED PERFECT F O R T H E S TA R ’ IN RANI ZAKHEM
—stylist Tara Swennen
IN MARIO DICE
The Big Little Lies star, 50, swept awards season— with wins at the Golden Globes, Critics’ Choice Awards and Screen Actors Guild Awards—in a series of showstopping gowns. “She is a very open-minded person, and that definitely reflects in her style,” says her stylist Julia Von Boehm. Kidman’s secret, Von Boehm adds, is balance: She loves to “work with basic silhouettes and add a surprising twist.”
FROM LEFT: TAYLOR HILL/GETTY IMAGES; NEILSON BARNARD/NBC/GETTY IMAGES; ALBERTO E. RODRIGUEZ/GETTY IMAGES; TOMMASO BODDI/WIREIMAGE; STEVE GRANITZ/WIREIMAGE
IN PRADA
IN VALENTINO
IN GIVENCHY COUTURE
—stylist Julia Von Boehm
IN RANI ZAKHEM AND L’AGENCE
‘TO ME THIS LOOK WAS PERFECTION: C L A S S I C A N D E L E G A N T, B U T I N A M O D E R N W AY ’
IN LELA ROSE
IN VERSACE
IN CALVIN KLEIN BY APPOINTMENT
FROM LEFT: TODD WILLIAMSON/GETTY IMAGES; JOHN SHEARER/GETTY IMAGES; FRAZER HARRISON/GETTY IMAGES; STEVE GRANITZ/WIREIMAGE; KARWAI TANG/WIREIMAGE
About the Dress
Janney tends to gravitate toward formfitting silhouettes because she “loves to showcase her flawless figure and incredible height,” her stylist Tara Swennen says of the 6-ft.-tall Best Supporting Actress nominee for I, Tonya. Plus, Swennen notes that each dress worn by the star, 58—whether intricately beaded or delicately textured— proves that age is just a number: “I want to show women that it’s an honor to get older, so flaunt what you’ve got.”
2018
Fabulous Fashion
GLAMOROUS GOWNS
Gorgeous shades of red, white and blue— and a touch of pink!—helped these ladies stand out on the red carpet JENNIFER GARNER
In Atelier Versace “#ThisMorningIWasNormal” the presenter joked on Instagram, where she showed off her ultraglam chiffon dress with a draped asymmetrical neckline. Piaget jewels completed her look, including a pair of earrings featuring two cushion-cut sapphires atop more than 65 diamonds.
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MARY J. BLIGE
In Atelier Versace The Best Supporting Actress and Best Original Song nominee’s stylist Law Roach says his goal was for the Mudbound star “to be just as memorable and iconic as she is.” He delivered with this custom gown featuring a Swarovski crystal-encrusted bodice, matching Roger Vivier clutch and Forevermark diamonds.
SAOIRSE RONAN
In Calvin Klein by Appointment The Best Actress nominee went with pale pink because “it was about being ethereal,” says her stylist Elizabeth Saltzman. The Lady Bird star also rode to the event in a bus so she could stand—in Christian Louboutin heels!—and arrive wrinkle-free.
MERYL STREEP
In Dior Haute Couture “It was an easy but strong gown that just complemented her,” the Best Actress nominee’s stylist Micaela Erlanger says of the Post star’s belted wool design. A pale pink Christian Louboutin clutch popped against the look’s red hue, while Fred Leighton jewels added some shine.
NICOLE KIDMAN
In Armani Privé The presenter epitomized glamour in this custom sapphire-blue gown, which she topped with 84 carats of Harry Winston diamonds worth $1.3 million. And she proved you can pair blue with black, choosing a pair of $745 Christian Louboutin strappy pumps to finish her look.
VIOLA DAVIS
In Michael Kors Collection Never one to shy away from a bold, bright color, the presenter picked neon pink down to her Roger Vivier clutch. Of course, she had some help nailing the look—and was grateful for it: “As always, thank you to my awesome glam squad!” she said on Instagram.
MARGOT ROBBIE
In Chanel Haute Couture “It’s a fantasy,” the Best Actress nominee for I, Tonya said of her corseted design, which featured so many intricate 3D crystal embroideries on the bodice that it took seven people and 550 hours of work to complete. Plus, it had a touch of her film’s inspiration, says her stylist Kate Young: “It’s icy!”
FROM LEFT: STEVE GRANITZ/WIREIMAGE; JEN LOWERY/SILVERHUB/SHUTTERSTOCK; FRAZER HARRISON/GETTY IMAGES; DAVID FISHER/SHUTTERSTOCK; KEVIN MAZUR/WIREIMAGE(2); DAVID FISHER/SHUTTERSTOCK; KEVIN MAZUR/WIREIMAGE
ALLISON JANNEY
In Reem Acra “This silhouette could only be pulled off by a very tall and statuesque figure, which is why we were drawn to it for her,” stylist Tara Swennen says of the ensemble worn by the Best Supporting Actress winner for I, Tonya. Enhancing the look: a matching Roger Vivier clutch and $4 million worth of Forevermark jewels.
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Fabulous Fashion
MORE INCREDIBLE LOOKS
Thanks to metallic hues, expert draping and a few up-to-there slits, these stars shone especially bright
LESLIE BIBB
In J. Mendel The actress supported her longtime love (and firsttime Oscar winner for Best Supporting Actor) Sam Rockwell in a delicate, black, hand-pleated tulle-and-lace gown with a plunging neckline, Neil Lane jewelry and a sweeping updo.
GAL GADOT
In Givenchy Haute Couture For her first Oscars the presenter wore a flapper-inspired design and layered on a jaw-dropping Tiffany & Co. necklace featuring a 27-carat aquamarine and over 1,000 diamonds, all of which took a year to ethically source. “It means so much to wear this special custom piece,” she said.
T A R A J I P. H E N S O N
In Vera Wang Collection “Vera Wang knows how to make a woman look and feel like a queen!” she wrote on Instagram of her gown featuring a thighhigh slit that showed off her Jimmy Choos. She thanked her glam squad too: “It takes a team, and I love mine to the core.”
JENNIFER LAWRENCE
In Dior Before buddying up with BFF Emma Stone at the ceremony, the star walked the red carpet in her gold spaghetti-strap gown with Roger Vivier feathery sandals tucked under. How did her stylists Jill Lincoln and Jordan Johnson describe the look? “Smokin’!”
ZENDAYA
In Giambattista Valli Haute Couture “Who said brown was a sad color?” stylist Law Roach asked on Instagram of the Greatest Showman star’s off-the-shoulder design. Vintage art deco earrings by Bulgari, ca. 1930, added sparkle.
LUPITA NYONG’O
In Atelier Versace “It encapsulates what a strong, powerful, confident woman would wear,” stylist Micaela Erlanger says of how the two chose this Swarovski crystalaccented chain-mail design, Versace clutch and Niwaka jewels. “It had a ‘wow’ factor!”
ELIZABETH CHAMBERS
In Armani Privé What to wear when your husband wears red velvet? Armie Hammer’s wife decided on a black-tie take on an LBD, featuring a single beaded shoulder, which she paired with Neil Lane jewelry and a voluminous ponytail.
SANDRA BULLOCK
In Louis Vuitton For her first Oscars since 2014, Bullock went for maximum impact in this black-and-gold sequin-embroidered gown and Lorraine Schwartz and Ofira jewels. She also attached a Time’s Up pin to her Jimmy Choo clutch.
FROM LEFT: FRAZER HARRISON/GETTY IMAGES; KEVIN MAZUR/WIREIMAGE; FRAZER HARRISON/GETTY IMAGES; KEVIN MAZUR/WIREIMAGE; CHELSEA LAUREN/SHUTTERSTOCK; KEVIN MAZUR/WIREIMAGE; JEN LOWERY/SILVERHUB/SHUTTERSTOCK; KEVIN MAZUR/WIREIMAGE
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2018 Illustrious Icons
SENSATIONAL OVER 60 Here’s proof that style gets better with time
JANE FONDA, 80 Her Balmain 44 François Premier gown “shows off her youthful physique,” her stylist Tanya Gill says.
CHRISTINE LAHTI, 67
The actress wore a long-sleeve crimson crepe gown by Romona Keveža Collection, featuring a high slit up the front.
MIRREN’S IN MORE THAN $3.8 MILLION WORTH OF HARRY WINSTON SAPPHIRES AND DIAMONDS!
Designer Christian Siriano called the Best Supporting Actress nominee “stunning and legendary” in his blush sequin gown and Fred Leighton jewelry.
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RITA MORENO, 86
She recycled her 56-year-old dress— and updated the top—and paired it with long gloves, a head wrap and a collar necklace. “It’s been hanging in my closet,” she says. “They didn’t have a red carpet then!”
MORENO ROCKED THE DRESS SHE WORE TO WIN HER OSCAR IN 1962!
FROM LEFT: MATT BARON/SHUTTERSTOCK; KEVIN MAZUR/WIREIMAGE(2); VALERIE MACON/AFP/GETTY IMAGES; FRAZER HARRISON/GETTY IMAGES; KEVIN MAZUR/WIREIMAGE; JORDAN STRAUSS/INVISION/AP/SHUTTERSTOCK; INSET: BETTMANN/GETTY IMAGES
HELEN MIRREN, 72
Stylist Lee Harris went for a “pure and simple” look for the presenter with this Reem Acra slate-blue column.
Sixty-three years after winning her Oscar, Eva Marie Saint received a standing ovation wearing a Landero wrap dress.
LAURIE M E T C A L F, 6 2
FAYE D U N AWAY, 7 7
Twice as nice! The presenter broke out the same Esteban Cortazar dress she donned on last year’s red carpet.
EVA MARIE SAINT, 93
2018
ANSEL ELGORT
The presenter jumped into the fashion fray in a Tom Ford tux with a bottle-green jacket.
LIN-MANUEL MIRANDA
ARMIE HAMMER
An orange Everytown pin to advocate gun control punctuated the presenter’s blue jacket.
‘IT TOOK 10 PEOPLE HUNDREDS OF HOURS TO BEAD THE COAT,’ SAYS BOSEMAN’S STYLIST
His recipe for style success: red velvet! Hammer chose a custom tux by Giorgio Armani.
TIMOTHEE CHALAMET
Well-Suited
A FEW GOOD MEN ADAM RIPPON
Why the edgy leather harness? “I wanted to do something a little different,” the figure skater tells People.
‘IT’S FUN! I LOVE IT!’ RIPPON SAYS OF HIS JEREMY SCOTT FOR MOSCHINO SUIT
Velvet! Beads! Bondage! No boring tuxes for these guys
CHADWICK BOSEMAN
Stylist Ashley Weston sought something “regal” for the Black Panther star, adding that Givenchy Haute Couture “did a spectacular job of creating this piece of art.”
CLOCKWISE FROM TOP RIGHT: KEVORK DJANSEZIAN/GETTY IMAGES(2); KEVIN MAZUR/
WIREIMAGE; KEVIN MAZUR/WIREIMAGE(2) March 19,JORDAN 2018STRAUSS/INVISION/AP/SHUTTERSTOCK; PEOPLE
DANIEL KALUUYA
The Best Actor for Get Out nominee stood out in a contrastcollar bronze velvet Brunello Cucinelli jacket.
No stylist? No problem! The youngest Best Actor nominee ever (at 22, for Call Me by Your Name) rocked a white tailored Berluti suit.
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Dapper Duos
DATE NIGHT AT THE OSCARS CLOCKWISE FROM TOP RIGHT: FRAZER HARRISON/GETTY IMAGES; DAVID FISHER/SHUTTERSTOCK; KEVORK DJANSEZIAN/GETTY IMAGES
The spotlight is brighter when there’s someone to share it
PEELE ACCESSORIZED WITH A CUSTOM JASON OF BEVERLY HILLS DEER ANTLER PIN TO HONOR HIS FILM CHELSEA PERETTI & JORDAN PEELE
The Best Original Screenplay winner for Get Out wore a white Calvin Klein 205W39NYC wool jacket; his Brooklyn Nine-Nine star wife wore a strapless velvet gown.
KELLY RIPA & MARK CONSUELOS She dressed in a strapless Christian Siriano ball gown, he in a navy tuxedo.
CAMILA ALVES & MATTHEW MCCONAUGHEY
The presenter chose a Brioni look with a red velvet bowtie; his wife wore off-theshoulder Vivienne Westwood with a Chopard rubyrubellite-amethystdiamond necklace. PEOPLE March 19, 2018
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GAL GADOT & YARON VARSANO The presenter and Wonder Woman star wore a beaded Givenchy Haute Couture gown with a fringe skirt; her husband of nine years chose a black tuxedo.
GRETA GERWIG & NOAH BAUMBACH The Best Director and Best Original Screenplay nominee sported a Rodarte gown; her director beau wore Prada.
KUMAIL NANJIANI & EMILY V. GORDON
The Big Sick screenwriters, nominated for Best Original Screenplay, chose a black Ermenegildo Zegna Couture tuxedo for him and a tiered J. Mendel gold ball gown for her.
IT TOOK ABOUT A MONTH TO CREATE ROCKWELL’S CUSTOM $5,500 CUFF LINKS
Dapper Duos
SAM ROCKWELL & LESLIE BIBB
The Best Supporting Actor winner opted for a Prada tuxedo with custom David Yurman cuff links (decorated with partner Leslie Bibb’s name!); the actress wore J. Mendel.
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CLOCKWISE FROM TOP RIGHT: ANTHONY BEHAR/SIPA; KEVIN MAZUR/WIREIMAGE; COURTESY MICHAEL FISHER; FRAZER HARRISON/GETTY IMAGES; KEVORK DJANSEZIAN/GETTY IMAGES
MORE DATE-NIGHT FUN
2018
NICOLE KIDMAN
The presenter elevated her royal blue Armani Privé bustier gown with 23.52 carats of platinum-set cluster diamond chandelier earrings by Harry Winston.
HER SPARKLERS ARE WORTH MORE THAN $280,000!
Breathtaking Jewels
EXQUISITE EARRINGS KEVIN MAZUR/WIREIMAGE
Danglers of all shapes and sizes ruled the red carpet, including these standout pieces
PEOPLE March 19, 2018
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2018 Breathtaking Jewels
MORE DAZZLING EARRINGS Classic diamonds and glittering crystals stole the spotlight
ELISABETH MOSS
The Handmaid’s Tale star picked 17.60-carat Harry Winston diamond chandeliers, which her stylist Karla Welch describes as “classic Hollywood.”
MOSS’S DIAMOND EARRINGS COST APPROXIMATELY $200,000! MARY J. BLIGE
The Best Supporting Actress and Best Original Song nominee chose statement Forevermark 12.28-carat diamond designs, which her stylist Law Roach says “unleash an incredible sparkle and unmatched beauty.”
MOLLY SIMS She chose a glitzy waterfall style set by Lorraine Schwartz, a look worth over $150,000.
LAURA DERN
ZENDAYA
The Greatest Showman star opted for vintage art deco Bulgari danglers featuring 240 brilliant-cut diamonds.
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The presenter wore rectangular crystaland-diamond drop earrings set in 18-karat white gold by Atelier Swarovski Fine Jewelry. The value: $10,400.
CLOCKWISE FROM TOP RIGHT: DAN MACMEDAN/USA TODAY NETWORK/SIPA; STEVE GRANITZ/WIREIMAGE; DAN MACMEDAN/USA TODAY NETWORK/SIPA; KEVIN MAZUR/ WIREIMAGE; FRAZER HARRISON/GETTY IMAGES
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Elizabeth Saltzman with Saoirse Ronan in Versace, Gucci and Ralph & Russo.
Celebrity Stylists on the Business of Oscars Fashion Elizabeth Saltzman, Kate Young and Micaela Erlanger on dressing during Time’s Up movement and more. By Marcy Medina In an era when Time’s Up and the Trump presidency are two major narratives dominating the news cycle, the role of fashion, specifically red-carpet fashion, could either be diminished or amplified. Given that it is Oscar Week, the culmination of months of campaigning and wardrobe planning that leads up to Hollywood’s biggest night March 4, it is the latter. Those once-behind-the-curtain operators known as celebrity stylists now find themselves more in the spotlight, just as their Academy Award-nominated clients do. That’s not a new story, it’s a cycle that’s been replayed over and over for decades now. What’s changed is the social and political climate now holding people in all industries accountable for actions ranging from sexual harassment to assault, and the entertainment industry’s unification as a means of affecting change. The all-black dress code at the Golden Globes and the BAFTAs made a simple yet effective statement, and signaled that fashion, in ways big or small, can aid in amplifying larger movements. It can also rightly claim the spotlight purely on its own aesthetic merit, as we may see on Sunday. All of this generates millions of dollars in the industry, for the brands, the stars, their teams of agents and stylists. So what’s next? Social and political movements aren’t going anywhere, nor is the public’s appetite for celebrity-driven content. WWD talked to three leading stylists — Elizabeth Saltzman, Kate Young and Micaela Erlanger — who are dressing Best Actress nominees Saoirse Ronan, Margot Robbie and Meryl Streep, respectively, about how the current times have impacted their work this awards season — from the sartorial narrative they’re creating for clients to their other business ventures and their evolving roles in the public eye. For Saltzman, who has seen
Kate Young with Margot Robbie in Miu Miu, Givenchy and Zimmermann.
Micaela Erlanger with Meryl Streep in Prada, Alexander McQueen and Elie Saab. plenty in her 30 years as both a magazine editor and a stylist, going through a second Best Actress-nominated season with Ronan, who is just 23, is both fun and impactful. “It was a different foot then,” she said of Ronan’s first rodeo
with “Brooklyn” in 2016. “That was a small indie film. With ‘Lady Bird,’ everyone loves Greta [Gerwig, who is nominated for best director] So people are starting to know Saoirse. The film industry knows her, but the outside world maybe wasn’t so aware of her
name, her talent. And then this film just, boom. Stomp.” The female-led indie has received wider box office attention because of its critical accolades but also its capturing the zeitgeist of an American teenager finding her voice in the world.
“It’s absolutely right timing. Right place. Perfect equation. And it’s nice at this time of fashion, too, where so many designers are pro-women…and are women,” Saltzman said. “I think that the actors started the [Time’s Up] movement and all the designers that I got to work with were just excited to be on board. And I think to be a part of something as a whole, is really the impact. I mean, in 30 years I haven’t seen it happen. Protests, marches, certainly other events have happened, but not on such a grand scale where it was one message, one note, and everyone sang in tune.” Saltzman said her “Lady Bird” press tour and awards season red carpet game plan started months before Time’s Up, and that their original M.O. was to be more “editorial.” Ronan was rocking pink hair, fresh off the set of another film. “I said, let’s just keep it. Hair is good. Let’s come up with an idea, a person. What do you want to say? You’re 23 now. You’ve been through the Oscar run before. The conversation from the getgo, driven solely by Saoirse, was, ‘I really want this to be about me and I want to have fun. I want to enjoy trying different things.’ And that made it really exciting, so when the Time’s Up movement happened, it was just a no-brainer. We were already in process working with our [Golden Globes] designer, Versace.” The gown’s original color wasn’t black, “but funnily enough the Chanel BAFTA dress was. We were so lucky. And having been through it once, it wasn’t scary. It was, alright, let’s go.” Ronan did have her share of colorful moments in a longsleeved Louis Vuitton gown at the SAG Awards and a Gucci one at the Palm Spring Film Festival Gala. “We tried to push, without confusing the person that’s not in fashion, because everybody’s a critic today. So, because of Instagram and television shows and [Snapchat] and everything, you get a lot of critics and you want to be able to open their eyes to color and fun and just make it exciting for Saoirse, as well for the people out there,” she said. Incidentally, Saltzman is a social media minimalist and Ronan is a non-participant. As for her Oscar dress, their first fitting was Sunday and so far all systems are go. “I’m always happy to hit the last one. While everyone always says Oscars is the most important, I don’t know if it’s the most important because it’s also the last one. It’s the home stretch. You’re there to enjoy the evening and not suffer through it. So we try and make it happy.” For Young, the Oscars is almost counterintuitively anticlimactic. “Honestly, I think of it as the end. I have a lot of nerves because I haven’t seen anything in the flesh yet, and I am ambitious and competitive and want to be the best. All the months of hard work comes down to this. After Margot goes to the Oscars, I have a drink, and as soon as it’s over my stylist friends and I just text each other. Then I go to bed really early. I’ve actually fallen asleep during the Oscars before.” Young was one of the first stylists to create business relationships stemming from her “day job,” first as a fashion staffer at Vogue, then as an independent stylist. “I always had a design job going on the side. I had a lingerie line with Triumph
in Japan for five years, which stopped after the economy crashed in 2008. I did a line of prom dresses with Target five years ago. Natalie [Portman, one of her styling clients] and I had a vegan shoe line. And I’ve had an optical and sunglass line with Tura eyewear that’s been retailing for three years. It’s a very lucrative part of my business,” she said. Young said she also considers it part of her job as a stylist to be a fashion adviser for her clients, even as they create their own business deals that she isn’t involved in. “Selena Gomez has her Puma and Coach lines and I don’t formally consult on that, but we talked about what she wanted to do and what she wanted to present herself as. A lot of people in Hollywood are incredibly smart with Hollywood and they don’t necessarily speak fashion, so I can explain how to become appealing to a fashion audience,” she said. Young said she’s doesn’t see the business of celebrity-driven lines abetting any time soon, nor the stylist-driven projects. “Because of social media, celebrities have become human beings in ways they used to not be. It makes sense that people would want, if possible, to buy stuff that looks like them. Or it feels more tangible to come from a stylist than a corporate brand that doesn’t have a face attached. The appeal of a stylist is they can make you buy stuff. Lori Goldstein is massively successful on QVC because a lot women really want and need that fashion authority.” Erlanger agrees. “In general, stylists more than ever have opportunities that didn’t necessarily exist in the early years of styling. We are looked at as brands responsible for cultivating or minding someone’s image through a fashion lens, and now there are opportunities related to that. Jamie Mizrahi is now a creative director at Juicy Couture, for example. I just wrote a book and became a fashion director at an online platform [Armarium]. It truly just depends on what your interests are, but I love my work don’t intend to change that,” she said. Not even Time’s Up, during which Streep has been one of the most vocal actresses, has changed the way she does her job. “The climate in Hollywood is different this year and that’s not something that goes away, but my process is still the same. We might consider different choices or take a more thoughtful approach, but so what if there’s a Time’s Up pin or a white flower on a lapel or we have to wear all black? OK, it doesn’t change the whole process, and in fact, it’s more direction.” She said she feels the same responsibility to Streep as she does to her six other Oscar-bound clients, including Lupita Nyong’o, Common, Lakeith Stanfield and Oscar-nominated composer Justin Paul and screenwriter Vanessa Taylor. “Sometimes it’s as simple as wanting to feel beautiful. It’s not always a choice. This year has been more thoughtful and my hunch is the Oscars red carpet is not going to be all one color, and it’s still going to be a strong and empowering message. It’s the Academy Awards and people are going to bring the glamour because it’s still one of the biggest nights in entertainment and it’s an important moment in our history.”
Photographs by REX/Shutterstock
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Tuesday 6 March 2018 The Daily Telegraph
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OSCARS FASHION
Back from black: the new glam rules The dress code might have been lifted for the Oscars, here’s how Hollywood reclaimed the red carpet, says Bethan Holt
W
rapping up an awards season where the red carpets have all been about wearing one colour – black – it was back to business-as-usual at the Oscars on Sunday night. Well, as usual as things can be after actresses have found ways to use their style choices – one of their most powerful platforms – to make a unified visual stand against inequality. As the women arrived at the Dolby Theatre in Los Angeles in their rainbow of vibrant colours and glamorous sparkles, you couldn’t help but look at everything through a post-black prism. The Oscars has always been the place of fairytaleworthy dresses, but – right now, at least – everything seems to have a political edge and beg the question: what does it mean? The all-black dress code for actresses attending the Golden Globes had been criticised for demanding conformity, but at the Academy Awards there was no such concern. Women were free to veer off in a glorious mishmash of directions that showcased, albeit subtly, their stances on the Me Too and Time’s Up debates, as well as their
2 COLOUR IN For some, the answer to the post-black red carpet was perhaps the most natural one of all: inject some colour. Retinasearing neons and palettes that could have come from a Farrow and Ball sample book have been all over the autumn/winter catwalks, but their arrival on the red carpet is further evidence that they will be finding their way into our wardrobes. Most uplifting were Viola Davis in fuchsia Michael Kors, Jennifer Garner in cobalt Versace, and Greta Gerwig in a gorgeous shade of tangerine by Rodarte.
personal predilections. From some, such as Meryl Streep and Emma Stone, there was a sense that their outfits had been selected to continue the more restrained, meaningful tone of this awards season; that they wouldn’t be back to playing the game just because the dress code had been lifted. For others – see Emily Blunt – it was about reclaiming the red carpet with unashamed femininity, celebrating the uniquely woman-centric opportunity it offers to indulge and dress up. “I think it’s important something feels like the ultimate dream dress for the Oscars,” says Kate Young, the stylist responsible for carrying one of the night’s most chicest stars, Margot Robbie, through awards season. By the time the I, Tonya star stepped on to the red carpet, news that her dream dress (which required 550 hours of work and seven people to complete) would be Chanel was no secret, after the French fashion house announced she was to become an ambassador for the maison. Robbie is the perfect player of the game. Frances McDormand, meanwhile, rallies against it. In their own ways, she and Robbie were two of the night’s best-dressed. Here are the eight ways that Hollywood went to the Oscars in postTime’s Up style…
After months of red-carpet restraint, there must have been stockpiles of sequins and glitter in designer ateliers. So, it seems, the only way to get through the backlog was to commit to Oscars gowns of extreme glitziness. Lupita Nyong’o was representing hit film Black Panther – which had provided inspiration for Atelier Versace, which hardly needs cajoling into amping-up the glitter factor – to create her a “Vibranium” dress that was armour-like with its elaborate one-shoulder pad and molten, figureskimming cut. I’d bet this is the one to go down in the annals of red-carpet fashion. Jennifer Lawrence, in a gold disc Louis Vuitton dress, seems to have found her awards-season groove. And Sally Hawkins, the season’s queen of quirky cool, opted for her most classically elegant look yet in Armani Privé.
4 MODESTY One of the most talkedabout fashion movements of the moment has found many designers tapping into the long-sleeved, ankle-skimming, highnecked and even headcovered look. So covering up on the red carpet now feels not only like a postMe Too statement but a nod to a major fashion trend. Is there conflict in that? Maybe – but modesty looked incredibly elegant at the Oscars. Frances McDormand and Maya Rudolph both did it in Valentino – designer Pierpaolo Piccioli has been one of modesty’s greatest advocates – while Dame Helen Mirren chose an ultra-simple blue dress by Reem Acra. It was one of the plainest, if not exactly prim, looks we’ve ever seen her wear.
INVISION/AP; PA
Mono tone: Eva Marie Saint in Landero
wrong, even if it was nobly attempting to give the colour back its verve. Thankfully, 93-year-old On The Waterfront actress Eva Marie Saint was there to remind us of black’s unsurpassably chic possibilities in a dress by Landero with just the subtlest of white leaf patterns – and a string of pearls. The perfect reset.
3 ALL THAT GLITZ
Sparklers: from left, Jennifer Lawrence, Lupita Nyong’o, Sally Hawkins and Gal Gadot
1 FILM NOIR While most seemed to have had enough of black (or maybe all the black fabric had run out?) singer St Vincent was one the few to continue with the cause, although her choice of a very mini Saint Laurent dress with a giant pillowy arm felt
In the shades: Greta Gerwig and, bottom, Nicola Kidman and Viola Davis
Prim and proper: Helen Mirren and Maya Rudolph
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“Captivating” TIME OUT ***** FINANCIAL TIMES Sheila Hancock Bill Milner
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TO P B I L L I N G | News
Time to Suit Up: Hollywood’s Men Hit the Refresh Button From daring colors to dashing cuts, Hollywood’s leading men are cutting a swathe through old, outdated ideas about men’s red-carpet style. We asked stylists Michael Fisher, who works with Oscar nominee Sam Rockwell and Grammy host James Corden, in addition to a plethora of stars that includes Jake Gyllenhaal and Hugh Jackman, and Ilaria Urbinati, whose clients include Grammy winner Donald Glover, Golden Globe nominee Armie Hammer, as well as Bradley Cooper and Ryan Reynolds, to spotlight the top menswear trends sprucing up the red carpet this awards season. CLAIRE COGHLAN
Plush Velvet
“Velvet is huge right now and always so elegant without being over the top,” says Urbinati, who chose bottle-green Ralph Lauren for Milo Ventimiglia at the Critics’ Choice Awards. “There’s something about the texture that feels so rich. It photographs really luxuriously, and a little bit vintage, too, giving it a special, old school vibe.” “For me, there’s a decadence to velvet that’s so nice,” says Fisher, who dressed Jackman in purple Ralph Lauren for the Bambi Awards in Austria (1). It’s also a great way to add a bit more sophistication to the typical black tux. Fisher chose Gucci for Gyllenhaal at the Governors Awards. “A black-velvet dinner jacket makes someone like Jake, who’s so classic in his taste, look fresh in another black tuxedo. It just adds another layer of texture, and sophistication.” For the all-black Golden Globes, Urbinati had the folks at Brioni add velvet to the lapels, pockets, and “stripe” of Dwayne Johnson’s tux, lending the otherwise understated look “a little extra touch.”
february 22, 2018
variety.com
Shawl Collars
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“There’s something a little bit more romantic about a shawl collar versus the typical peak or notch lapel,” says Fisher, who’s seeing a lot of men adopt the trend. “Whenever I put a shawl collar on a guy, it gives him a bit more swagger, in the sense that he feels a little bit more Frank Sinatra-ish, a little bit more cool.” Fisher says it was a staple of Adam Driver’s “Star Wars: The Last Jedi” press tour (2). “Adam is such a powerful actor, and that’s the most important thing to him; it’s not so much the fashion or the clothes or the red carpet. So I just made everything black on black on black, and then the shawl
collar was just that little bit of a fashion twist.” In contrast, Urbinati chose an all-white look for Glover at the Grammy Awards. “We wanted something that felt cool and clean and effortless,” she says of the “Redbone” winner’s Zegna Couture with its shawl collar. “The all-white still felt like a bold move without all the obvious bells and whistles.”
Blue Is the New Black
“It’s a good color in that it’s color, but yet not,” says Fisher in answer to why navy is proving an increasingly popular alternative for black-tie events. “It’s nice to have something that stands out a little from all the black-and-white ‘penguin’ outfits.” He’s been dressing “Three Billboards Outside Ebbing, Missouri” nominee Sam Rockwell (3) in a range of hues, from steel blues to gray blues to ice blues and textured blues, and from self-matching monochrome tuxes to suits with contrast lapels, most recently Prada at the SAG Awards. At the Critics’ Choice Awards, Urbinati dressed “Ray Donovan” nominee Liev Schreiber in a “beautiful royal blue” Tom Ford. “A lot of my guys are gentlemen and ‘actor actors,’ and they’re not fashion plates, and a blue suit is a nice way to be appropriate and yet stand out.”
Dinner Jackets
For classic guys including Gyllenhaal and Jackman, a dinner jacket is another really nice way to do that old Hollywood throwback, says Fisher, who chose a Burberry dinner jacket for Gyllenhaal for the American Cinematheque Ball. “Again, it’s a really nice way to have a guy stand out, and avoid wearing the typical classic black, and yet at the same time be very appropriate,” he says of the ultra-elegant look most often →
TO P B I L L I N G | News ← worn with dark pants, with some notable exceptions, not least of which was Glover’s Grammy look. “The last time I did an all-white look it was for Mickey Rourke on ‘The Wrestler’ campaign. And if anyone can pull off an all-white tuxedo, it’s Mickey Rourke!”
Rich Textures
Urbinati is thrilled to see more variation and variety in standard tux fabrics, be it brocade or embossing or tone-on-tone prints, similar to the black paisley print Etro that Chris Hemsworth wore to the Golden Globes (4). “I thought it looked really beautiful,” says Urbinati, who didn’t dress the “Thor: Ragnarok” actor. “It’s cool, because it just adds something extra, by way of texture, to a tuxedo.” Urbinati recently dressed Garrett Hedlund in a tone-on-tone black Zegna suit for an event in L.A. “It shows up on camera nicely, but it’s very subtle, because it’s tonal.” Urbinati also dressed Glover in a richly textured Burberry jacket for the Met Gala last year. “Nobody’s just doing black; everybody’s really venturing out. Menswear has become really relevant in a way it wasn’t even three or four years ago.”
Double Breasted
february 22, 2018
variety.com
No longer your father’s — or grandfather’s — uniform, double-breasted suits have made a comeback, says Fisher, who’s seeing a lot of younger men resurrecting the erstwhile sartorial staple. “It has more of this distinguished leading actor kind of vibe to it.” No surprise it’s a staple for Jackman and Gyllenhaal (5), who wore double-breasted Calvin Klein to the Toronto Intl. Film Festival and a velvet Gucci variation to the Governors Awards. “It just suits them really well,” says Fisher of the dashing pair. “They already have that leading-man status, and so the double-breasted suit kind of cements it.” It’s also a great look for a man of a certain age.” Fisher favored the cut for Bryan Cranston two seasons ago when he was nominated for “Trumbo.”
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“ Nobody’s just doing black; everybody’s really venturing out. Menswear has become really relevant in a way it wasn’t even three or four years ago.” Ilaria Urbinati
Opulent Colors
From rich chocolate brown (“Stranger Things” nominee Dacre Montgomery’s Giorgio Armani at the SAG Awards) to emerald green (“Silicon Valley” nominee Thomas Middleditch in Ermenegildo Zegna Couture at the Critics’ Choice Awards (6)), Urbinati is seeing an explosion of luxurious hues. “Because so many people do color nowadays, it’s hard to find tones that are a little bit unusual,” says Urbinati, who’s been gravitating toward gemstone tones. Her favorite? Hammer’s gold Dolce & Gabbana at the Palm Springs Intl. Film Festival (7). “I’m completely obsessed with it,” says Urbinati of Hammer’s “spezzato” look with its deliberately mismatched pants. “Sometimes I like to do the whole look in color and sometimes it’s a lot, like gold for example, so it’s nice to take it down a notch. You don’t see a lot of movie stars wearing gold — usually that’s reserved for musicians — but I felt like Armie pulled it off. He’d just come back from vacation, so he was tan, and it was Palms Springs, so it had a little bit of a Rat Pack vibe to it. It was perfect.”
LEAD ERS O F TH E PAC K / C ’ EST DANS LE SAC
A STYLIST OPENS HER BAG
UNE ST YLISTE OU VRE SON SAC
Growing up in Tofino, B.C., Kemal Harris didn’t have much exposure to the world of fashion, until, at the age of 11, she found an issue of Elle at the local library. Now, the New York-based stylist creates red-carpet looks for clients like Kate McKinnon, Alexis Bledel and Robin Wright, who brought her on as costume designer for the actress’ impeccably tailored role of Claire Underwood on House of Cards. We caught up with Harris at the Jeremy West Hollywood Hotel, in the aftermath of awards season. Enfant, à Tofino, en Colombie-Britannique, Kemal Harris n’a pas vraiment eu de contact avec l’univers de la mode jusqu’à ce qu’elle tombe, à 11 ans, sur un numéro d’Elle à la bibliothèque locale. Aujourd’hui, la styliste établie à New York crée les looks de tapis rouge pour des clientes comme Kate McKinnon, Alexis Bledel et Robin Wright, qui l’a fait embaucher comme costumière pour habiller l’impeccable Claire Underwood dans House of Cards. Nous l’avons jointe à l’hôtel Jeremy West Hollywood, peu après la saison de remises de prix.
HAIR AND MAKEUP / MISE EN BEAUTÉ: MOLLY GREENWALD
B Y / P A R C A I T L I N WA L S H M I L L E R PHOTOS BY / D’ELIZABETH WEINBERG
STUFF, ROLL , FOLD OR SCRUNCH? VOS VÊTEMENTS SONT ROULÉS, PLIÉS OU TASSÉS ? I fold, and I’m very colour coordinated – it’s all black, white and grey with a pop of red here or there. And I always have a swimsuit, packed in a zip-lock bag with the air pushed out, ready to go. You never know when there might be a pool. Je les plie, avec couleurs assorties : tout est noir, blanc et gris, avec une touche de rouge çà et là. Et j’ai toujours un maillot de prêt, emballé dans un sac à fermeture à glissière comprimé. On ne sait jamais où il pourrait y avoir une piscine.
DO YOU HAVE A TRAVEL UNIFORM? AVEZ-VOUS UN UNIFORME DE VOYAGE ? Like with anything, it’s all about layers. I’m usually flying New York to L.A., leaving a cold environment and landing in a warm one. Uniqlo’s men’s cashmere turtlenecks are great layering pieces: roomy, long and thin enough to throw in my purse when I land in L.A. And they’re crazy affordable. Comme pour tout, le secret, c’est les couches. Je prends constamment des vols New York-L.A., passant du froid au chaud. Les cols roulés en cachemire pour hommes d’Uniqlo sont
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parfaits question superposition : amples, longs et assez minces pour se ranger dans mon sac à main à l’arrivée. Et ils sont très abordables.
WHERE DO YOU GET INSPIRATION FOR CL AIRE’S WARDROBE? OÙ PUISEZ-VOUS L’INSPIR ATION POUR L A GARDE-ROBE DE CL AIRE ? I’m definitely guilty of people-watching, especially in airport lounges. The people I’m around in fashion aren’t reflective of Claire’s kin – that governmentcorporate world – so I notice the jackets, the handbags, the shoes that women in these lounges are wearing.
J’avoue que j’observe les gens, surtout dans les salons d’aéroport. Ceux que je côtoie au boulot n’ont rien à voir avec le milieu de Claire (le monde des affaires et du gouvernement), alors je remarque les vestes, les sacs à main, les chaussures des femmes dans ces salons. WITH THE CHARACTER’S ROLE BECOMING THE LEAD, HOW WILL HER LOOK EVOLVE? MAINTENANT QUE CL AIRE DEVIENT LE PERSONNAGE PRINCIPAL, COMMENT SON LOOK ÉVOLUER A-T-IL ? Last season saw Claire dip in and out of the vicepresident role and aggres-
sively pursue that position. She’s just a shark. We brought in a lot of presidential blues, army greens and militaristic details like gold buttons, so I think we’ll continue with that energy. I’m just excited to see the scripts – anything can happen. La saison dernière, on a vu Claire goûter au poste de vice-présidente après l’avoir convoité avidement. C’est un requin. On a intégré beaucoup de bleus présidentiels, de verts militaires et de détails militaristes comme des boutons dorés, alors on va sans doute continuer avec cette énergie. J’ai hâte de voir les scénarios : tout peut arriver.
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LEAD ERS O F TH E PAC K / C ’ EST DANS LE SAC
WHAT’S IN KEMAL’S CARRY-ON? / QU’Y A-T-IL DANS LE BAGAGE À MAIN DE KEMAL ? explique comment mes musiciens préférés ont réalisé leurs meilleurs albums. J’ai grandi au son du grunge des années 1990, et j’ai vu Nirvana au Commodore Ballroom de Vancouver quand le groupe était peu connu. Je suis attachée à cette musique.
01 S N E A K E R S D E S E S PA D R I L L E S
Give me comfort or give me death. I ordered these custom on the Vans’ website – the black and white goes with everything. Pour moi, c’est le confort ou la mort. J’ai commandé ces Vans sur mesure en ligne ; le noir et blanc se marie avec tout.
03 SKETCHBOOK UN CARNET
I keep this Muji sketchbook – I love the bow closure – and mechanical pencil handy for sketching wardrobe ideas for Claire. I basically want to live inside a Muji store. Je traîne ce carnet (qui se ferme avec un nœud, j’adore) et ce portemine Muji pour esquisser des idées de tenues pour Claire. Je pourrais passer ma vie dans une boutique Muji.
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I love the 33 1⁄3 books for learning how my favourite musicians made their best albums. I grew up in the grunge scene in the 1990s, and I saw Nirvana play the Commodore Ballroom in Vancouver when they weren’t popular, so I have a sentimental attachment to that music. J’aime les livres de la série 33 1⁄3, qui
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The Inhabit blanket can double as a scarf, and its case fits most airline pillows for an instant cashmere pillowcase. La couverture Inhabit peut servir de foulard. Son étui adaptable à la plupart des oreillers d’avion fait une taie en cachemire.
As a stylist, I’m usually flying with at least four suitcases, and this digital scale saves me from paying overweight baggage fees. À titre de styliste, je voyage d’habitude avec au moins quatre valises, et cette balance numérique m’a épargné bien des frais d’excédent de bagages.
I use these sanitizing Herban Essentials towelettes in lavender to wipe down everything in my hotel room – they smell amazing. Je passe ces lingettes désinfectantes Herban Essentials au parfum de lavande dans toute ma chambre d’hôtel. Elles sentent vraiment bon.
07 T O I L E T R I E S C A S E UNE TROUSSE DE TOILETTE
09 CHARGING CABLE UN CÂBLE DE CHARGE
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The Trtl pillow wraps around your neck like a scarf and holds your head in a more upright, comfy position than other travel pillows, and I’ve tried them all. L’oreiller Trtl s’enroule autour du cou comme une écharpe, mais maintient la tête droite et avec plus de confort que les autres oreillers de voyage. Et je les ai tous essayés.
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I have a TSA-approved clear case ready at all times, stocked with stuff like New Wash, an all-in-one for your hair. J’ai un étui transparent approuvé par la TSA prêt à partir, rempli de produits style New Wash, un tout-en-un capillaire.
It’s surprising how many hotels still don’t have bedside charging stations, so this two-metre-long cable is a game changer. C’est étonnant le nombre d’hôtels qui n’ont toujours pas de blocs de charge près des lits. Ce câble de 2 m résout le problème.
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WEB Do you know a star packer who’s taking off soon? Contact us at leadersofthepack@aircanadaenroute.com Connaissez-vous quelqu’un qui pliera bagage bientôt ? Écrivez-nous à cestdanslesac@aircanadaenroute.com.
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