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Margot Robbie Shines In Versace At ‘Babylon’ Australia Premiere

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Australian actress Margot Robbie has once again mesmerized her fans at the red carpet for the premiere of her latest film, “Babylon,” in her home country. On the pretext of the premiere, Robbie chose a baby blue corset gown from Versace, an Italian luxury fashion brand. The floor-length dress featured a sleek satin built around and crisscross straps beautified with the label’s iconic Medusa heads. The skirt was laced with crimson lace and featured a twisted wrap pattern. In 1995, Versace displayed the outfit on the ramp for the first time. Robbie styled her blonde hair in loose beach waves and donned the dress with gold sandal shoes.

Also Read: Navigating Tough Times: How The Fashion Industry Is Coping With Economic Challenges

 

Throughout the “Babylon” press tour, paparazzi and fans saw Robbie experimenting with bold colors and fun silhouettes. At the film’s London premiere on January 12, she wore a red cape gown from Valentino, and at the Los Angeles screening in December 2022, she wore a halter dress by Alaïa. At the 2023 Golden Globe Awards on January 10, she looked pretty in a pink dress by Chanel, which took 750 hours to make due to its elaborate details.

 

In the film, which was released on December 15, 2022, Robbie stars as Nellie LaRoy, a rising actress in Hollywood during the 1920s. Max Minghella, Tobey Maguire, Tobey Maguire, Brad Pitt, and Olivia Wilde are also featured in the movie.

Sahil Sachdeva is an International award-winning serial entrepreneur and founder of Level Up PR. With an unmatched reputation in the PR industry, Sahil builds elite personal brands by securing placements in top-tier press, podcasts, and TV to increase brand exposure, revenue growth, and talent retention. His charismatic and results-driven approach has made him a go-to expert for businesses looking to take their branding to the next level.

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Private Runways: Nigerian Fashion Labels Navigate Anti-LGBTQ Challenges

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Since its inception in 2011, Lagos Fashion Week has emerged as a biannual highlight on the African fashion calendar, drawing the continent’s leading design houses, prominent sponsors, and an international audience.

In Nigeria, a nation marked by strong religious and conservative values where LGBTQ individuals face severe levels of discrimination and violence, Lagos Fashion Week has stood out as an inclusive platform. It provides space for marginalized communities and innovative brands to gain visibility and amplify their voices. 

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For over a decade, Orange Culture, a Nigerian label, has challenged norms through provocative runway shows featuring male models in skirts, makeup, and unconventional attire, sparking conversations on gender fluidity in fashion. Similarly, Maxivive, a Lagos-based fashion entity rooted in nonconformity, has garnered attention with its bold, gender-bending collections that explore themes of sexuality and identity season after season.

In recent years, LGBTQ individuals in Nigeria have observed a shift in Lagos Fashion Week’s once-welcoming environment, as the country experiences rising hostility towards non-binary and gay communities.

In 2014, Nigeria, Africa’s most populous nation, implemented the SSMPA law (Same Sex Marriage Prohibition Act), widely criticized internationally for outlawing gay marriage, same-sex relationships, and activities of LGBTQ rights groups. Violators face penalties including lengthy prison sentences of up to 14 years. Activists argue that these attitudes are increasingly influencing even traditionally progressive sectors like the fashion industry in Nigeria.

Kayode Timileyin, founder of Queercity Media and Production, a prominent non-governmental organization advocating for queer rights in Nigeria, also serves as the festival manager for Lagos Pride. According to Timileyin, there is a longstanding pattern of anti-LGBTQ sentiment within Nigeria’s fashion week scene.

In the Spring-Summer 2022 showcase, the late Fola Francis made history as the first transgender model to grace Lagos Fashion Week’s catwalk, appearing for labels Cute-Saint and Fruché. Her participation marked a significant moment for African fashion and the LGBTQ community, although it also stirred controversy. Francis spoke out about facing backlash and noted the absence of her runway images on Lagos Fashion Week’s social media and press releases, prompting criticism. In a subsequent interview with LGBTQ magazine Xtra, she expressed disappointment, saying, ‘I heard Lagos Fashion Week decided not to post any of my pictures or include them in press releases. Why am I not surprised?’ 

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In another incident, Maxivive, known for its avant-garde approach, had its Spring-Summer 2023 show abruptly canceled by organizers shortly before its scheduled date. While founder Papa Oyeyemi declined to comment on the cancellation to CNN, industry discussions suggested the decision was linked to the show being perceived as ‘too gay’ by event organizers.

Discovering the Liberty of Authenticity

Amid mounting societal and legal pressures regarding gender, sexuality, and inclusivity in Nigeria, more fashion labels are opting to showcase their collections through independent, private presentations held off the traditional fashion schedule. This allows them greater freedom to embody their brand ethos away from the spotlight of Lagos Fashion Week.

From brands like Tzar Studios, known for its visually daring contemporary menswear inspired by the metrosexual ethos, to Weiz Dhurm Franklyn’s ready-to-wear collections, these exclusive “invite-only” presentations are organized by designers who carefully select undisclosed venues and invite trusted journalists, influencers, celebrities, and fashion insiders to attend.

Udiahgebi, renowned for its androgynous fashion, has found success in organizing private shows. According to brand creative director Chiemerie Udiahgebi Ugwoke, the house made waves with its debut runway in 2022 by featuring five non-binary models, receiving overwhelmingly positive feedback.

The response following my show was surprisingly positive,” they shared via email. “Considering the societal norms, I anticipated more negative reviews due to the gender-neutral designs featuring transparent fabrics, animal prints, and daring cut-outs.

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Aso Nigeria, known for its androgynous and inclusive designs, featured Fola Francis in both a private runway show in December 2022 and a fashion campaign launched in February 2024. Founder Aanuoluwa Ajide-Daniels emphasized that including a trans woman aligns with the core values of the brand, which will continue to prioritize such representation.

“Fashion, to me, is an art that sparks dialogue and challenges perceptions,” commented Kayode Timileyin. “However, in recent years, Lagos Fashion Week has increasingly stifled and restricted these conversations.” While advocating for an inclusive future in African fashion cannot be confined to private settings alone, many designers currently view it as the only essential means to freely express their artistic visions.

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Vintage Vogue: Timeless Chinese Fashion Trend Strikes Gold

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Ancient ‘Mamianqun’ Skirt Resurfaces in Chinese Urban Fashion: Once exclusive to ‘hanfu’ enthusiasts, the traditional design gains traction in Shanghai, Beijing, and Chengdu. Modern interpretations blend historic charm with contemporary styles, expanding its appeal from ceremonial attire to everyday fashion among young Chinese.

“The Skirt’s Popularity Fuels ‘New Chinese Style’ Trend: Blending Contemporary Design with Traditional Aesthetics Across Fashion and Decor.”

From Outdated to Profitable: ‘New Chinese Style’ Surges on E-commerce. Chinese platforms leverage Gen Z’s patriotism, boosting sales with hashtags like ‘new Chinese style outfits.’ Social media showcases blend modern and traditional, from furniture to landscape wallpapers, reflecting a lucrative shift in consumer preferences and marketing strategies. China’s ‘New Chinese Style’ Clothing Market Hits $138 Million in 2023: Xiaohongshu User Shares Styling Tips for Traditional Attire, Combining Contemporary Fashion with Cultural Heritage.

According to a message sent to CNN, a user named Momo believes that many young people are increasingly embracing traditional culture to express their individuality, which she finds positive and trendy. Huang Weizhe, a 32-year-old designer and manager at Longfuji, concurs that the trend primarily attracts young enthusiasts. He uses social media to showcase ‘new Chinese style’ fashion, emphasizing its inclusive nature and freedom from strict rules, appealing to today’s youth.

Embracing the Surge of Contemporary Chinese Fashion                 

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Samuel Gui Yang, known for drawing on Chinese heritage in his fashion collections, has seen increased interest from mainland China thanks to the ‘new Chinese style’ trend. Unlike mass produced mamianqun skirts, his brand focuses on subtle incorporation of Chinese heritage, appealing to a global audience by blending Shanghai and London influences.

For Samuel Gui Yang, the essence of ‘new Chinese style’ is encapsulated in Ang Lee’s 1994 film ‘Eat Drink Man Woman.’ Inspired by the movie’s portrayal of Chinese life and its blending of tradition with modernity, Yang draws design inspiration from 80s and 90s Asian fashion, showcased recently at Shanghai Fashion Week with innovative updates to classic qipao designs.

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Ian Hylton, a long-time resident of China and designer, challenges the concept of ‘new Chinese style’ for his menswear label, which embraces traditional Chinese dress elements like silk mandarin collar shirts and Tang-style puffer jackets. He views these as enduring cultural expressions rather than passing trends, echoing his wife Min Liu’s initiative with Ms. Min to reintroduce Chinese-inspired fashion to the country.

When Ian Hylton first arrived in China in 2005 as creative director for Ports 1961, he noticed a prevalence of foreign faces in advertisements, reflecting a preference for foreign goods over local ones. Over the past decade, however, he observes a shift among young Chinese towards greater cultural pride and confidence, buoyed by a surge in domestic fashion consumption during the pandemic due to travel restrictions.

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Momo, a Xiaohongshu user, critiques the commercialization behind the rise of ‘new Chinese style,’ which she views skeptically. Douyin, China’s TikTok equivalent, reported an 841% surge in sales of mamianqun skirts, priced at around 200 yuan each, on its e-commerce platform compared to the previous year. State broadcaster CCTV noted that Cao county in Shandong province, a major production hub for mamianqun, saw sales totaling 550 million yuan in the first two months of the year, driven by Lunar New Year demand.

Momo criticized some ‘new Chinese style’ products as poorly made but believes their design quality will enhance over time. Despite trends, she remains committed to educating her 33,000 followers on wearing traditional clothing in daily life, emphasizing its cultural significance as a means to foster global understanding.

 

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Tom Holland’s Golf Injury and Zendaya’s Met Gala Triumph: Hollywood’s Ups and Downs in One Night

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In the glitzy realm of Hollywood, where red carpets and glamorous events dominate headlines, the lives of celebrities often unfold in unexpected ways. This was notably the case at the recent Met Gala, where the star-studded affair saw Tom Holland and Zendaya, Hollywood’s power couple, navigating both the spotlight and the everyday mishaps that come with being in the public eye.

As Zendaya dazzled on the Met Gala red carpet, effortlessly donning multiple gowns that captured the essence of high fashion, her partner, Tom Holland, found himself sharing a different kind of story. Taking to his Instagram stories, Holland candidly revealed a golf injury, showcasing a red bruise near his hairline. With a humorous caption accompanying the photo, Holland quipped, “Whoever said golf isn’t a contact sport is full of s–t. You can almost see the dimples.” The post, albeit lighthearted, offered a glimpse into Holland’s playful nature and the everyday adventures he encounters outside of his on-screen persona.

Amidst the glitz and glamour of the Met Gala, where Zendaya co-hosted the prestigious event, Holland’s candid revelation served as a reminder of the personal moments that often get overshadowed by the dazzle of Hollywood’s brightest nights. Despite their fame, the couple remains relatively private about their relationship, with occasional glimpses into their bond shared sparingly with fans and followers.

Reflecting on their shared journey, Holland previously opened up about their special connection, recounting moments spent revisiting their early days on the set of “Spider-Man” films. In an interview with “Extra,” he shared, “We will, every now and then, watch ‘Spider-Man 1’ and reminisce about being 19 and making those movies again.” For Holland, these cinematic memories hold a profound significance, serving as a reminder of the extraordinary experiences they’ve shared and the enduring bond forged through their work in the entertainment industry.

As Zendaya continues to captivate audiences with her stellar performances, most recently in the film “Challengers,” her presence at the Met Gala underscored her status as a fashion icon and cultural trailblazer. With Holland proudly sharing snapshots of her stunning looks from the event on his Instagram account, their support for each other both on and off the screen remains unwavering, a testament to the strength of their relationship amidst the whirlwind of Hollywood fame.

In the world of celebrity, where glitz and glamour often reign supreme, the candid moments shared by Tom Holland and Zendaya offer a refreshing glimpse into the personal lives of two individuals navigating the highs and lows of fame with grace and authenticity. As they continue to captivate audiences with their talent and charm, their bond serves as a reminder of the enduring power of love and partnership in the ever-changing landscape of Hollywood.

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Unpacking the Dua Lipa Sketch: Exploring the Drake and Kendrick Lamar ‘Beef’ on SNL

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During a recent episode of “Saturday Night Live,” Dua Lipa made her hosting debut and tackled the intriguing world of hip-hop rivalries. Lipa, taking on the role of Wanda Weems, a local culture critic, in a sketch on the fictional “Good Morning Greenville” show, provided a humorous yet insightful analysis of the ongoing feud between Drake and Kendrick Lamar.

Against a backdrop of photos of Drake and Kendrick Lamar connected by red yarn, Lipa dove into the latest diss tracks exchanged between the two rap giants. With her character’s quirky charm, Lipa dissected Lamar’s “Euphoria” and Drake’s “Push Ups” tracks, uncovering supposed revelations and adding a playful twist to the feud’s narrative.

The sketch served as a lighthearted nod to the recent spate of diss tracks between Drake and Lamar, reignited by Lamar’s pointed lines about Drake and J. Cole in Future and Metro Boomin’s track “Like That.” From questioning masculinity to witty references, the feud has captured the attention of hip-hop enthusiasts worldwide.

However, this feud didn’t arise out of nowhere. Drake and Lamar have a history of collaboration, including Lamar’s features on Drake’s “Buried Alive Interlude” and their joint effort on “Poetic Justice” in 2012. Yet tensions began brewing in 2013 when Lamar took shots at Drake and other rappers on Big Sean’s track “Control.”

Through Lipa’s portrayal of the eccentric culture critic, SNL offered a unique perspective on the intricacies of rap rivalries. The sketch highlighted not only the lyrical exchanges but also the cultural significance and narrative development inherent in these feuds.

As Lipa’s SNL appearance demonstrated, hip-hop rivalries serve as more than just entertainment—they reflect cultural dynamics and provoke meaningful conversations. With Maya Rudolph slated to host the next episode, SNL continues to serve as a platform for insightful cultural commentary, one sketch at a time.

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Stevie Wonder presents Beyoncé with the iHeartRadio Innovator Award

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At the iHeartRadio Music Awards in Los Angeles on Monday, where Beyoncé received the esteemed Innovator Award, the celebration of everything Beyoncé continued.

The “Texas Hold ‘Em” hitmaker was given the award by legendary musician Stevie Wonder, who also gave a rundown of her incredible achievements to date, including being the “first African-American woman to headline Coachella” and having a number one hit in each of the last four decades since the 1990s.

Not to mention, on Friday, she released her eighth studio album, “Cowboy Carter,” marking not only her unofficial foray into the world of country music but also her most anticipated professional moment to date.

When Queen B emerged to claim her prize, she addressed Wonder first, sporting a black leather motorcycle jacket and her now-famous cowboy hat.

“Isn’t She Beyoncé greeted the lovely” vocalist with, “Thank you for making a wave for all of us.” “I’m honored that you recognize me with this.”

She went on to say, “Whenever someone asks me who I could listen to for the rest of my life, it’s always you,” and she thanked Wonder for “playing the harmonica on ‘Jolene.'”

 

Continue reading Beyoncé’s stirring speech here:

“We appreciate iHeartRadio. You’ve called me an innovator tonight, and I appreciate that.

An innovative idea begins with a dream, but realizing that dream requires execution, which may be very difficult.

Seeing what others think is impossible is what it means to be an inventor. Being an inventor generally entails receiving criticism, which will frequently put your mental toughness to the test.

Being an innovator means putting your confidence in God to hold you up and lead you. I thus hope that all record labels, radio stations, and award shows will be more receptive to the happiness and freedom that arise from appreciating art without any preconceived ideas.

Being an innovator means putting your confidence in God to hold you up and lead you.

I thus hope that all record labels, radio stations, and award shows will be more receptive to the happiness and freedom that arise from appreciating art without any preconceived ideas.

This award is intended to be a tribute to all the innovators who have committed their lives and artistic endeavors to bring about change.

I am therefore grateful for your selflessness, strength of voice, and bravery.

We honor the many people who have defied labels, including Michael Jackson, Tina Turner, Prince, Stevie Wonder, Miss Tracy Chapman, Linda Martell, and Rosetta Tharpe.

We appreciate you carrying out your dream so that we might all follow.

And a huge thank you to my Parkwood crew; you guys work so hard, and I sincerely appreciate it.

I adore you, hubby, my best friend, and my rock. My three stunning children, are still my greatest blessing and source of inspiration.

Thank you so much, and have a lovely evening.

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Tamannaah Bhatia Shines in All-Black, Embracing Confidence and Glamour

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Tamannah Bhatia proves again – she is the fashion goddess.

Bollywood actresses who want to make a statement have always opted for all-black ensembles, and Tamannaah Bhatia—who is renowned for her avant-garde style—is no exception. The actress, who is active on social media, regularly offers fans style advice. She commanded attention with her striking appearance in her most recent outfit, which glittered in all-black.

 

Tamannaah Bhatia shared her glam look on Instagram and did everything in her power to win over her admirers’ hearts. The actress wrote, “No cape, just confidence!” alongside a slew of stunning photos that she shared on social media.

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Fashion Goddess – slays in her new look

Rich satin fabric, a high neckline, a bodycon fit, statement shoulders, long sleeves, and a thigh slit with a crystal-embroidered brooch complemented her elegant black ensemble, which gave her an air of royalty.

 

The chic diva selected this gorgeous ensemble, which costs more than Rs 1 lakh, from the clothes brand David Koma’s shops.

 

She worked with celebrity fashion stylist Chandini Whabi to improve her overall look by adding a pair of crimson crystal and diamond-studded earrings as a simple touch to her ensemble. Tamannaah added thigh-high black pencil-heel boots with pointy toes to finish off her alluring appearance. Her gorgeous hair tastefully tied back into an updo, making sure her ensemble remained the main attraction.

 

Florian Hurel, a cosmetics artist, created a glamorous look for her. With kohl, nude eyeshadow, mascara-coated lashes, and highlighted contoured cheeks that accentuated her cheekbones, Tamannaah went for strong makeup that defined her features and expertly framed her eyes.

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The Rise of Kristi Noem: Exploring the Trumpification Phenomenon in American Politics

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South Dakota Governor Kristi Noem is getting ready for her national close-up. How else to explain the contentious recent trip she took to Texas to “fix” her grin, which was captured on camera for a long time?

You know, the one where she extolled the virtues of Smile Texas, the aesthetic dentistry practice, on X, Facebook, and Instagram, claiming that it had fixed an issue she had long before sustained in an accident while riding her bike with her kids. The one that detailed her path to “a smile that I can be proud of and confident in,” as she put it.

Travelers United, a consumer advocacy group, is suing Ms. Noem for deceptive advertising since the outcome looked so much like a promotional infomercial. They allege Ms. Noem was essentially operating as a travel influencer.

aside from one particular item. There is much more to the tooth narrative than just teeth.

As the competition to be Donald J. Trump’s running mate intensifies, Ms. Noem’s new smile is a calculated move that is as much about psychology and politics as it is about looks.“It’s all about her appeal to a single audience,” Republican strategist Ron Bonjean remarked. The entire tooth incident nearly seems to have been staged for Trump to view. She is demonstrating to him her talent for front of the camera and her ability to carry the star power he desires when performing live beside him, all while adhering to the Trump universe’s expectations for women.

After all, Mr. Trump was the president who frequently referred to his employees—particularly those in the armed forces—as “central casting.” These days, he wears nearly all American flag colors. According to Richard Thompson Ford, a law professor at Stanford University and the author of “Dress Codes: How the Laws of Fashion Made History,” he enjoyed it when ladies “dress like women.” Ford added, “We know what that means to him.” Nearly all of the women in Trump’s inner circle—including his family and former press secretary Kayleigh McEnany—have profiles that reflect this.

In this sense, Ms. Noem’s dental upgrade is merely the latest in what seems to have been a years-long makeover that has turned her into, more than any other woman on Mr. Trump’s shortlist, what Cornell University professor of cinema and media studies Samantha N. Sheppard called “the perfect ornament for Trump.” Beyond her notoriety, her qualifications as a governor, and her MAGA platform, Ms. Sheppard noted that she represents a particular type of “Miss America-like white femininity,” which entails long lashes, flowing hair, and a dazzling smile. This type of femininity is also represented in Fox News anchors.

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Larry Downing/Reuters

 

The artwork tells the story. Ms. Noem’s hairstyle during her initial bid for Congress in 2010 resembled a hybrid of “the Rachel,” the layered, straightened hairstyle made popular by Jennifer Aniston on “Friends,” and the power bob worn by Hillary Clinton and Nancy Pelosi. She chopped it off into a short style after winning reelection in 2012, which Ms. Sheppard likened to Kate Gosselin’s iconic haircut from “Jon & Kate Plus 8,” but a little more corporate.

Following Mr. Trump’s election and the growth of the MAGA movement, Ms. Noem changed her appearance. Her part went to the middle as her hair grew longer and longer, its disheveled waves kissed by the curling iron. She started to look like Donald Trump Jr.’s fiancée Kimberly Guilfoyle. Or a darker-haired version of Lara Trump, the new co-chair of the Republican National Committee and spouse of Eric Trump. From the khaki shirtdress she wore to CPAC in 2011 to the vibrant blue sheath she donned for this year’s State of the State address, even Ms. Noem’s wardrobe has altered.

The front cover image of her latest book, “No Going Back: The Truth on What’s Wrong,” is the best representation of her metamorphosis.

The Truth on What’s Wrong with Politics and How We Move America Forward,” which includes a picture of Ms. Noem sitting on her desk chair wearing a blazer and dress in front of the American flag. She has thick eyelashes, and glossed lips, and one hand appears to be playing with her wavy hair.

Mr. Bonjean remarked, “She practically looks like a member of the Trump family.” “A cousin, perhaps.”

Even though Ms. Noem’s Trumpification may just be a coincidence, she has demonstrated that she is aware of the implications and applications of costuming. This is evident in recent advertisements where she has assumed the roles of an electrician, a highway patrolman, and a dental hygienist to promote the message that “South Dakota is hiring.”

“It’s very strategic,” Mr. Ford declared. “Signaling that she’s going to be Trump’s kind of woman,” says Ms. Noem. And that she won’t challenge him at the same time.

The strategy of shaping political images finds its origins in the stylized femininity exhibited by figures like Phyllis Schlafly and Sarah Palin, where the allure of a powerful woman was softened by her adherence to traditional gender roles.

The recent dental procedure undertaken by Kristi Noem, coupled with her endorsement of the dentist responsible, adds an interesting layer to her public persona. It’s a move that seems to echo the approach of Donald Trump himself, who understands the value of leveraging power for personal gain. This suggests a shared understanding between the two.

While Governor Noem may present herself as a down-to-earth cowgirl, her actions align closely with Trump’s agenda, signaling her commitment to his vision and willingness to conform to his expectations. This was evident when she joined Trump at a rally in Ohio, where they donned matching MAGA hats. Trump’s remarks about her beauty, albeit veiled, underscored his recognition of her loyalty and alignment with his ideals.

In response, Noem could only respond with a smile, acknowledging the dynamics at play.

 

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Marx’s “Das Kapital” gift to Darwin reveals an “amusing insight.”

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Experts claim that although Karl Marx sent scientist Charles Darwin a signed copy of “Das Kapital,” the book was mainly ignored and only partially read, offering an “amusing insight” into the relationship between the two thinkers.

The economist and philosopher Karl Marx examined the workings of the capitalist system and its propensity for self-destruction in his book “Das Kapital.”

The book was sent to Charles Darwin more than 150 years ago, and now that it has been restored, it will be on display at the renowned biologist’s home.

In June 1873, Marx delivered the book to Darwin, writing on it, “on the part of his sincere admirer, Karl Marx.”

But in a statement released on Thursday, English Heritage, the organization in charge of looking for Darwin’s home, Down House, stated that the gift “appears not to have been very well received.”

The statement continues, “With most of its pages remaining uncut, it seems Darwin gave up any attempt to read it,” and it also mentions that Darwin took nearly three months to write Marx a brief note of gratitude.

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The gift copy of “Das Kapital” with Marx’ inscription top right. Cambridge University LibraryDarwin wrote, “I wish that I was more worthy to receive it, by understanding more of the deep and important subject of political Economy. I thank you for the honor which you have done for me by sending me your great work on Capital.”

Darwin, a prolific writer, is most known for his book “On the Origin of Species,” published in 1859 and which popularized the idea of evolution as a basic scientific theory.

According to Tessa Kilgarriff, English Heritage’s curator of collections and interiors, the two men were among the greatest thinkers of the late 1800s.

“Marx was clearly a disciple of Darwin’s theories, as evidenced by his personal gift and later work; however, the uncut pages (and absence of typical pencil marks) suggest Darwin was less enthralled with Marx’s writing – or quite possibly that his German was simply not up to scratch,” she stated in the statement.

Kilgarriff continued, “Down House’s copy of Das Kapital is a fantastic piece of social history, highlighting how Darwin’s theories filtered through Victorian society and transformed popular ideas of biology and nature, as well as providing us with an entertaining glimpse into the dynamics between these two well-known intellectuals.”

Despite the fact that Darwin was known to read German, Francis Darwin, Darwin’s son, said that his father had difficulty with the language, according to English Heritage.

Francis noted, “When reading a book after him, I was often struck at seeing, from the pencil-marks made each day where he left off, how little he could read at a time.”

Darwin’s lack of interest in political economy and these language barriers, according to English Heritage, could account for the book’s widespread unread status.

Following conservation work done by Cambridge University Library, the book’s owner, visitors to Down House will be able to see the tome on exhibit for the first time in five years.

In observance of Darwin’s 215th birthday on February 12, a study team electronically assembled his remarkable library.

A 300-page catalog that includes all 7,400 titles and 13,000 volumes that Darwin originally had was made available via the Darwin Online initiative. To encourage the public to read what Darwin read, the catalog contains 9,300 links to free online versions of the library’s contents.

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To mark its 35th anniversary, Andam puts the spotlight on its former prize-winners

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The Prix de l’Andam has a packed calendar for 2024. Nathalie Dufour created and oversaw the fashion competition for young designers, which is commemorating its 35th anniversary with a number of special events and social media material. Anthony Vaccarello, the creative director of Saint Laurent, is sponsoring the prize this year. He will also serve as the jury’s chair and will shortly reveal the makeup of the jury.

Apart from the twenty-two regular jury members who represent the competition’s primary sponsors, Anthony Vaccarello has selected twelve other important individuals. This is the first time a designer has been appointed chairman of the Andam jury; typically, the CEO of one of the participating fashion houses holds this position. “Winner of the Andam prize in 2011, the designer had this nice gesture in this special year, especially as the prize is strongly linked to the house since Pierre Bergé with the Fondation Pierre Bergé – Yves Saint Laurent participated in the creation of this prize in 1989, of which he was the president until 2017,” says Nathalie Dufour.

It resembles an homage to Pierre Bergé’s character. It’s a truly remarkable gesture that truly fits these thirty-five years,” she continues. Additionally, the designer will be creating the competition awards in-house with Swarovski, another one of Andam’s sponsors; typically, the winners from the previous year are given this responsibility.

A celebration of Who’s Next, an Andam partner, and Maxim’s Première Classe salon, which is commemorating its 35th anniversary, will take place on March 1st as part of the anniversary program. In June and July, Galeries-Lafayette, a different partner, will host a tour of the store featuring all of the previous prize winners that are sold there, from Alexandre Mattiussi from Ami to Marine Serre. Guillaume Houzé, the director of image and communications for the company, is also the president of Andam.

Concurrently, under the topic “What have they become?” The Association nationale pour le développement des arts de la mode (Andam) will be sharing images of its previous prize winners on social media and its Instagram account throughout the year.

From Martin Margiela to the most recent winners—including those who are already retired—we have gotten in touch with them all. All of them are still working in the creative industry. José Lévy, for instance, is a furniture designer who was the 1991 winner. The general manager of the competition observes, “We find them in number 1, 2, or 3 studios very often.”

Furthermore, the winners of the past two years will be shown by the Musée des Arts Décoratifs at the end of September, thanks to the symbolic shapes they have made for Andam and have either donated or will donate to the museum in Paris. The general director comments, “It’s interesting to show that contemporary design immediately makes history.”

 

Stéphane Ashpool will participate.

 

Not to mention, Stéphane Ashpool, who won the main award in 2015 for designing the French team’s Olympic costumes, will be included in the Andam 2024 celebration schedule. However, Nathalie Dufour is unable to provide us with further information at this time.

This year, Andam received about 350 applications. Half of the initial selection is retained by the organizers. The jury will have to select four finalists from the remaining candidates for the Grand Prix and the Special Prize, almost three for the Pierre Bergé Prize, which honors French and emerging brands and is supported in 2024 by Michael Kliger, CEO of Mytheresa, and three for the Accessories Prize, which is supported this year by Eva Chen, Vice President of Fashion.

Furthermore, the Innovation prize finalists will be chosen by an expert team and announced in May.

The endowment of €700,000 is divided among these four prizes. Though limited in number, the awards are highly valued. The winners gain cross-disciplinary support from all of our partners behind the scenes, and there’s a true springboard effect,” emphasizes Nathalie Dufour. The fashion competition’s finalists and winners will be revealed at the end of May and June 27, respectively.

“Andam has created a unique ecosystem around young designers, with some of the industry’s key players taking an interest in the younger generation and supporting them, both financially and strategically, in terms of image, digital, management and so on,” claims the founder.

“Our other sponsors support the winners of the other prizes, while the partner fashion companies support the Grand Prix winners. Everyone is genuinely committed to the project,” she states.

“Minister Jack Lang requested projects pertaining to the cultural and creative sectors when I was employed at the Ministry of Culture at the end of the 1980s. He made it easier for us to enter. At the time, there existed this transparency. That might not be feasible in the modern day. I founded this organization, and with Pierre Bergé’s help, it was able to flourish,” she says in concluding.

 

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Fashion

Farewell of a Downtown Darling: Does It Matter?

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The final performance of the six-year-old New York fashion brand/art project Puppets & Puppets took place on Monday.

Known as “downtown N.Y. gold,” as Highsnobiety put it, and having the kind of cult following that is meant to be a sign of success, its creator and designer, Carly Mark, had decided it was too difficult and costly to continue creating clothing and trying to establish a business in this city. She informed The New York Times last week that she was heading to London and uprooting her life. From there, she will continue to run her more prosperous and well-established handbag business. But no more fashion shows and runways.

Does it really matter?

In practice, very likely not. It’s not like this is a novel; fashion history is replete with the dead bodies of once-promising businesses that never quite panned out (Miguel Adrover, anyone?). Furthermore, Ms. Mark’s clothing was never very good, despite the fact that she was nominated for a CFDA award for rising designer of the year.

They frequently had strange fits, weren’t really suitable to be termed garments, or didn’t appear to be finished. (Her only real weakness is her love of Edie Sedgwick tights.) They appeared more like unfinished projects. The material could appear quite fragile. As a fine artist by training rather than a designer, Ms. Mark was effectively learning on the fly and in front of an audience. She was improving, though.

Her work this season resembled genuine clothing more than it has in the past, but occasionally just small sections of actual clothing. One large faux fur coat was revealed to be a false front; the other was a peplos dress with one side completely open except for a small tie at the waist. A sort of transportable backdrop was created by the way the hems of some draped jersey skirts and delicate tiny tops looped back up on themselves to form a veil. That, too, had potential; it was like a rusted cocktail dress with holey sweats strapped over lace skirts.

In short, the notion that you can arrive in this city with a huge concept, some self-belief, and some crazy ideas, and then see where it leads. that you can find a community, acknowledgement, and determine your own path. regardless of how disorganized.

It’s the fashion equivalent of the Gatsby promise, and it’s especially powerful in this city where newness has a different value system than tradition. particularly at this time when the major labels that formerly epitomized New York style are vanishing and there’s a tangible need for something new to come up. However, what occurs when the subsequent somethings, such as puppets, give up?

Indeed, there are yet others in the wings. Colleen Allen, a former menswear designer whose debut women’s collection was a study in surprising juxtapositions, is one of the bright new names to watch this season. (Observe a fitted riding jacket that looks just like it belongs in “Bridgerton,” complete with hook-and-eye fastenings made of fleece.) Additionally, check out Diotima, a design by Rachel Scott, a young Jamaican who somehow pulls off seeming oxymorons like sophisticated macramés and stylish crochets.

Yes, the fashion industry is a business, and profits must be realized. But the sometimes illogical trust in reinvention—of style, personality, and career—is what drives it ahead, keeps people coming back, and is at the core of its attractiveness. Everyone loses if we stop holding it to be true.

 

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