Author Archives: rossie

How Can a Guava Become a Staple of Street Style

Hosiery walks a fine sartorial line, leading a double life as clothing in public and lingerie in private. Its allure is in leaving something to the imagination. Nothing plays the erotic game of peekaboo better than a pair of fishnets as they simultaneously reveal and conceal what’s underneath.

Last September, Kim Kardashian posted an Instagram photo of her topless torso with black openwork Wolford tights stretching above the waistband of her half-done button fly. Like so many of her social media endeavours, the post sparked a frenzy, and the fishnets-and-denim combo took off. Worn under distressed mom jeans or glute-grazing cut-offs, the look has become an #OOTD favourite of virtually every style darling, including blogger Chiara Ferragni, model Hailey Baldwin and singer Pia Mia. In April, Kardashian’s sister Khloé commercialized the approach with a new style from her denim line Good American that features holes patched with fishnets. Meanwhile, in June, Austrian luxury hosiery company Wolford reissued the Kaylee style seen in Kardashian’s post due to popular demand.

Fishnets are a garment loaded with innuendoes, thanks to their origin in cabarets like the Moulin Rouge. In the 1970s, early punks literally tore them apart, giving nets a bad-girl reputation that still resonates nearly five decades later. “It was part of the whole punk ethos of bringing in deliberately disgusting and objectionable styles that were scavenged from bad taste or pornography or both,” says Valerie Steele, fashion historian and director and chief curator of The Museum at the Fashion Institute of Technology. “Once that happened, fishnets were really ripe to keep being revived as a somewhat punk, definitely sexy component in fashion. It re-emerges periodically every few years.” She points to the powerful suggestion of violence inherent in a pair of damaged tights. “Have you fought off someone? Or are you just so degenerate that you wear clothes that are falling apart?”

Vanessa Cesario, the 25-year-old behind Toronto style blog The Brunette Salad, channels this rebellious spirit by using fishnets to add an element of surprise to her slick streetwear-heavy ensembles. “They’re a way to amp up outfits that are otherwise safe,” she says. “I think that now, more than ever, women, myself included, like to wear things that could have been seen as taboo.”

Henley from Anita Pallenberg! 8 Vintage Treasures From Archive Stylist Bay Garnett Has Remade

There was something wildly inventive about West London fashion in the ’90s. The legendary vintage scene at Portobello Road Market, stretching from Golborne Road to Westbourne Grove, gave birth to the seemingly slapdash high-low mix that defines good street style to this day. Now, Bay Garnett, the British stylist who helped pioneer the secondhand movement, has partnered with M.i.h. Jeans to harness that magic for a new capsule collection that goes one step further than simple vintage-inspired designs. Instead, Golborne Road by Bay Garnett is a curated selection of thrifted treasures, plucked directly from her personal archive and reproduced for the masses.

These eight perfect pieces represent the crown jewels of Garnett’s expansive vintage collection, lovingly assembled on rambles through Portobello. “It was our way of life,” Garnett recalls of thrifting back then. “It was a really genuine, lovely passion that unified us.” From her home base in Shepherd’s Bush, she would set off for model Iris Palmer’s ramshackle house on the road and from there, the ragtag crew would embark on the hunt for rare, affordable finds—a soft cotton tee covered in glitter stilettos, or the elusive pair of perfect jeans. Many of those items found their way into Garnett’s editorial work—shoots for British Vogue, the pages of her cult thrifter’s zine Cheap Date—and sparked a collective desire for a more effortless, fun-loving wardrobe. “It could be dark red tracksuit bottoms with high heels and a swimsuit—almost quite Gummo, that film with Chloë Sevigny—or it could be a beautiful vintage silk dress,” Garnett says. “It didn’t matter what, it was about your own sense of style.”

That ethos feels particularly of the moment—one reason why M.i.h. founder Chloe Lonsdale, who also lived off Golborne Road in the mid-’90s, tapped Garnett for this collaboration. “I loved how people would pull out a ’30s silk tea dress, wear it over secondhand jeans and a pair of sneakers or Dr. Martens, and add a little twist of their own—jewelry, a hat,” she says. “Bay immortalized that look—what we see now as street style was single-handedly put on the map by her. It was that attitude toward dressing that I fell in love with.”

Happily, that attitude can be snapped up with one of Garnett’s vintage reproductions. Some are exact replicas (the black chinoiserie blouse with snaking buds up the collar), while others have been updated just slightly (a fleece turtleneck with elaborate ruffled sleeves, remade in soft jersey). Each has its own special history, laid out by Garnett, below—think a velour henley the color of mink, a gift from Anita Pallenberg, or those perfect flares, worn by countless It girls like Sevigny. They may be the holy grail of secondhand shopping, the sort of perfect high-waisted denim you can’t ever find new—at least, until now.

Slip and Slide Into Fall With 25 Pieces of Summer Sleepwear

While getting dressed up is one of life’s simple pleasures, there are some days where it feels like too much mental energy to properly compose an outfit for all of the activities on your schedule. If you’re feeling especially tired, as many do at the end of a sun-filled summer, it may seem impossible to wake up early enough to pull together a bona fide look. So if you’re starting to experience those seasonal blues, simply take a cue from the louche vibes of the ’70s—just roll right out of bed and into a silky robe or slip dress and slides (as close to slippers as one can get away with in public).

If you’re looking to embody the chic caftan look you may have seen in old family photographs, then Rianna + Nina’s colorful, intricately printed robe offers a chic, modern take on the tried-and-true silhouette. In contrast, Sies Marjan’s millennial pink shift dress feels distinctly modern, as does Voz’s blush floor-length slip, which you can wear underneath Etro’s reversible deep paisley silk robe. If you’re really feeling sleepy, or you’re just a fan of the super-cozy pajama trend, then opt for a silky and velvety pale blue sleepwear set from F.R.S For Restless Sleepers. Of course, none of these rakish looks is complete without a slipper-adjacent shoe of some sort. From Maison Margiela chrome mules that feature a large crystal buckle to yellow leather and animal-print Haider Ackermann slides, there’s a plethora of comfortable options to choose from. Whether you’re looking for a glamorous robe to wear around the house or you’re trying to make your summer staples a bit cozier for fall, these nine looks will let you embrace your most louche life.

Rei Kawakubo Ties Business Like Its Design

When the Internet company I was working for in the mid-’90s switched me from World Cup soccer coverage to fashion, I found there were two things about my new beat that flummoxed me: the zealous reverence for Italian Vogue and the repeated mention of someone named Ray.

“Ray who?” I was dying to ask. His name sans surname was always coming up at the fashion events I attended. It was not until some time later that I figured out “Ray” was Rei Kawakubo. And by the time the Rei Kawakubo/Comme des Garçons: Art of the In-Between exhibition at The Metropolitan Museum of Art in New York finishes in early September, the greater public will also be on a first-name basis with the 74-year-old Japanese designer.

In talking about Kawakubo’s Comme des Garçons, one inevitably mentions certain landmark events in its history: its atomic-chic Destroy collection in Paris in 1982; its bulbous lumps-and-bumps Spring 1997 collection; the triple-sleeved shirts; the perfume that smells like photocopier fluid; the braces ad; the chromatic progression from fetishized black to red to gold.

Less known are certain fillips of information that have slipped through the media sieve in amusingly terse interviews meted out to journalists over the years. Like the fact that Kawakubo’s mother was an English teacher and a divorcee—the latter a rare and renegade thing to be in postwar Japan. Some attribute Kawakubo’s sustained rebellion against fashion norms to the original matriarchal revolt. She hasn’t commented on that—at least publicly—but her quotes in the show notes from the exhibit provide some insight into her unorthodox point of view: In 2011, she said, “I never give myself any boundaries or let them interfere with my work.” In 2012, Kawakubo made her manifesto clear: “Personally, I don’t care about function at all…. When I hear ‘Where could you wear that?’ or ‘It’s not very wearable’ or ‘Who would wear that?’ to me it’s just a sign that someone missed the point.”

And what is that point? It’s not about making clothes for Kawakubo; it’s about creating objects for the body that have a conceptual and transgressive connection to the human silhouette. Or, as she said in 2015: “Things that have never been seen before have a tendency to be somewhat abstract, but making art is not my intention at all. All my effort is oriented toward giving form to clothes that have never been seen before.”

On display at the museum are all the highlights of Kawakubo’s profoundly punk career, if we take “punk” in the larger sense of uncivil disobedience. There is the Comme des Garçons “lace”­—the falling-apart knits of the early ’80s. There are the signature asymmetry, wigs and frayed hems and the outsized ruffles, bows and tulles. What will be more difficult to exhibit is design of a less tangible kind—which is to say, the Comme des Garçons way of doing business.

Kawakubo has said that she “‘design[s]’ the company, not just clothes.” The privately held company generates somewhere in the ballpark of $220 million a year in revenue. It does so with business ideas that are as avant-garde as the clothing.

Unlike other typically hierarchical corporations, Comme des Garçons has a horizontal strategy that carpet bombs the market with diffusion lines, spinoff brands, collaborations and unusual retail concepts. Besides the main women’s and men’s collections, there are currently 18 different product lines, ranging from Play, Tricot and Shirt to Wallets, Girl and Homme Plus. Then there are the numerous collaborations, which Comme des Garçons began doing before other brands. There were the prescient retail projects, like the guerrilla pop-up marts, which it stopped in 2011 when everyone else caught on. There are also the market-shopping experiences, like Dover Street Market.

But perhaps the most unusual way Kawakubo has designed her company is that it has evolved a stable of designers. Neither a collaboration, nor a collective nor a conglomerate, the umbrella organization of Comme des Garçons and its satellite of designers grow out of a modern-day master-apprentice guild: Junya Watanabe, Tao Kurihara (though she discontinued her line in 2011), Fumito Ganryu (who left the company earlier this year) and Kei Ninomiya.

And then there is Gosha Rubchinskiy. Comme des Garçons owns the Gosha label, but it is unclear whether the Russian designer has the same relationship to the mother ship as his Japanese counterparts. In the case of Watanabe and Ninomiya, each designer is independent yet conversant with Comme des
Garçons vernacular and, as such, benefits from the protection offered by the company’s big tent. The Gosha venture, whose post-Soviet aesthetic is entirely distinct, is an outlier and, possibly, a new kind of business in the Comme des Garçons universe.

Comme des Garçons benefits from the pervasive buzz of all these lateral associations without the full weight, presumably, of having to run them. It operates a little like a franchise that somehow escapes the blanket sameness of, say, Tommy Hilfiger. The Comme des Garçons business model has its rules but retains the playfulness and wiggle room essential to its cool factor. This makes its design every bit as radical as a three-armed shirt, and somehow, despite that, it’s a money-maker.

Some Things to Know About Hollywood’s Top Residents

One week after Forbes released their annual list of Hollywood’s highest paid actresses, they told us who the top earning actors were. You’ll never guess which group earned more. Or, you definitely will. Turns out, continuing their winning streak, men out-earned women. By a lot.

Emma Stone’s $26 million paycheque didn’t even come close to Mark Wahlberg’s impressive $68 million. Let that sit in: in 2017, the highest-paid actor in Hollywood made 2.6 times what the highest-paid actress did. When you compare the two lists as a whole, things look even worse. The 10 top-paid actors cashed a combined $488.5 million, almost 3 times their female counterparts’ collective $172.5 million.

As Forbes notes, this disparity has a lot to do with the jobs available: the lead roles in top-earning blockbuster franchises and superhero flicks almost always go to men. Wahlberg didn’t become the highest-paid actor working on critically acclaimed indie films; his poorly received role in Transformers: The Last Knight earned him his big bucks.

Following behind him on the list are Dwayne “The Rock” Johnson, last year’s highest-paid actor, who pulled in $65 million, and Vin Diesel, whose role in eighth instalment of the Fast and Furious earned him $54.5 million. What do these top three guys have in common? They have big muscles. Also, truth be told,  they look pretty good next to explosions. Which, apparently, is how you make a lot of money these days.

“There are simply fewer parts for women that pay the sizeable backend profits that result in leading men’s large paydays, or the franchise sequels that permit aggressive negotiation for favourable deals,” Natalie Robehmed, Forbes associate editor, told The Telegraph. “According to a 2016 study, women comprise just 28.7% of all speaking roles in movies and only a quarter of roles for characters over the age of 40 – an ageism and lack of opportunity not facing Hollywood’s leading men. Until there are an equal number of high-paying roles, there will continue to be an inequality in the paychecks of Tinseltown’s very richest.”

The wage gap is bleak, but there is a redeeming light in Forbes list of grossly overpaid dudes: at least it was diverse. Last week’s round-up of highest paid actresses was comprised solely of American white women, while the men’s list includes three Bollywood stars, Jackie Chan, and multiple bi-racial actors. At least there’s progress somewhere.

Here’s Forbes full list of Hollywood’s top-earning stars.

1. Mark Wahlberg, $68 million
2. Dwayne “The Rock” Johnson, $65 million
3. Vin Diesel, $54.5 million
4. Adam Sandler, $50.5 million
5. Jackie Chan, $49 million
6. Robert Downey, Jr., $48 million
7. Tom Cruise, $43 million
8. Shah Rukh Khan, $38 million
9. Salman Khan, $37 million
10. Akshay Kumar, $35.5 million
11. Chris Hemsworth, $31.5 million
12. Tom Hanks, $31 million
13. Samuel L. Jackson, $30.5 million
14. Ryan Gosling, $29 million
15. Emma Stone, $26 million
16. Jennifer Aniston, $25.5 million
17. Jennifer Lawrence, $24 million
18. Ryan Reynolds, $21.5 million
19. Matt Damon, $21 million
20. Jeremy Renner, $19 million
21. Chris Evans, $18 million
21. Melissa McCarthy, $18 million
23. Chris Pratt, $17 million
24. Mila Kunis, $15.5 million
25. Emma Watson, $14 million
26. Mark Ruffalo, $13 million
27. Cate Blanchett, $12 million
28. Julia Roberts, $12 million
29. Amy Adams, $11.5 million

Faith Appears Back in 41 Years

Peter Beard and Arthur Elgort: Beginnings

In 1976, after I’d arrived in New York, aged 20, my very first modeling job was forVogue. It was not, however, my first sitting; that happened a year or so earlier in Kenya. There, by chance, I made the acquaintance of the rakish photographer-cum-adventurer Peter Beard. When Peter proposed a photo session, though I could never have envisioned the trajectory it would set in motion, I could at least see negotiating a fee for the equivalent of my college tuition—and a deal was struck.

Growing up in eastern Africa in the 1960s and ’70s, I could not have aspired to become a fashion model even if I’d wanted to: If they existed, news of their habits never reached me at boarding school. My own idols came from the Arab world’s then-splendid music and movie stars, such as Umm Kulthum, Faten Ha­mama, and Mariam Fakhr Eddine. When the day of Peter’s shoot arrived, though I brought along my own face and body, these were the women whose images I summoned to bring me to life in front of the camera. I pretended I was all of them. More prosaically, for protection, I also brought my five girlfriends, who stood sentinel just outside the camera’s frame. While I was hardly confident, I was not scared. I felt I had nothing to lose, only to gain. In Arabic my name, Iman, means “faith.” I had faith.

Peter Beard took his pictures back to New York, and not long after I was brought over, too. My first booking was for the delightful Arthur Elgort, fashion’s long-reigning master of photographs that are elevated yet effervescent, joyous and beautifully real. I was a naïf, a quivering bundle of nerves. Arthur’s photos betray a very tentative look in my eye.

In time my hesitant steps became a strut, and I took my place in fashion’s great kaleidoscope.

Helmut Newton: Naked Deeds

Fifteen wild, wordless years later, I was in my mid-30s, and the inevitable crossroads was at hand. A freshman class of models—Linda, Christy, Naomi,Cindy—was coming up. This, in combination with my own restlessness, made it plain that it was time for me to start a new chapter. Also, it seemed prudent to make an exit before being shown one.

I announced far and wide that I was officially hanging up my modeling skates. My exit was proclaimed with one final “farewell” shoot. Since my signature look and posture had evolved into a theatrical style (it was the anything-goes seventies and eighties, after all), it was poetic justice that Helmut Newton was cast as the master of ceremonies. Being shot one last time by this provocateur par excellence ensured that my modeling career would end as dramatically as it had begun.

We all assembled in Monte Carlo, Helmut Newton’s home and source of inspiration. Vogue’s André Leon Talley, a giant in every sense—height, knowledge, and fabulousness—was the stylist. The results were classic Newton: the mythic woman, omnipotent in the (almost) altogether and rendered in images that were fashion but also a tad louche—and ultimately Newton-spectacular. Portraying me with a defiant stance and attitude, the pictures were also an emblem of victory.

Irving Penn: Master Class

I had set my sights on Los Angeles with the stated aim of pursuing—what else?—acting. While I did actually manage to make a couple of movies, I ultimately associate the City of Angels with being precisely that. It was here that I met and fell in love with my everlasting soul mate, Mr. David Bowie. Life for me changed fundamentally.

Nevertheless, I love to work. In L.A. in 1993 I began to develop Iman Cosmetics. This new venture—and also this new couple—eventually led to me and David being photographed by the supreme Irving Penn.

At the shoot, there were a minimum of hands on deck: just Mr. Penn, his long-standing, trusted editor, Phyllis Posnick, and a couple of others. There was none of the usual flurry and exaggeration that so often characterizes a sitting. Zero foolishness. The atmosphere was neither austere nor surgical, just marvelously uncomplicated and calm. Mr. Penn’s humor, prescience, and genuine kindness were utterly disarming; you became a docile hunk of clay to be shaped. Finally, Mr. Penn was astonishingly quick with his work. We had barely been seated, with a few slight directions lightly communicated, when click, click, click, voilà, we were done. Both David and I were a little stunned, and I remember murmuring, “That’s it?” Mr. Penn laughed and said, “Yep. I got it.”

Having admired his portraits for years and then being the focus of one, I harbor the fancy that Irving Penn’s camera was also part X-ray machine and part crystal ball. Its subjects are beautifully rendered but also totally revealed. Here I think of his series of shrouded Moroccan women, uniformly covered, no human element to discern, and yet—somehow—the images radiate the essence of the women’s souls. David and I were astounded by our portrait’s composition: two distinct people who ultimately identified as one. Mr. Penn had tapped into our shared heart and, with his alchemy, brought the inside out.

Annie Leibovitz: Eye And Empathy

In 1998, Vogue assigned a story on my fellow Somali and sister model Waris Dirie, who was then, as both victim and advocate, bravely bringing to the world’s attention the horrifying practice of female genital mutilation. Since the procedure is prevalent in Somalia, as well as in many other parts of Africa, I was tapped to conduct the interview. Given the traumatic nature of Waris’s tale, I was really just grateful to be there to offer her solidarity and maternal protectiveness.

Our portrait was assigned to Annie Leibovitz, who brought her uncommon sensitivity and empathy to the story. In my opinion, it’s not Waris’s pain that gives the image its mesmerizing strength but rather the compassion it stirs in the viewer. Annie didn’t attempt to search out and reveal some repressed secret in Waris, or in our friendship; she astutely understood that the reason Waris stood before her was revelation enough.

Herb Ritts: Great Expectations

When Vogue arranged my sitting with Herb Ritts, the world had just turned 2000. I was 44 and expecting a child, my second daughter. With the exception of an ankle bracelet (my own), I found myself naked before the camera again. But this time, it was a Herb Ritts nude, a dreamy, innocent counterbalance to Mr. Newton’s.

The sitting took place in a studio in Los Angeles, an important detail considering that Herb loved to capture and imbue his pictures with the light and lushness of southern California. Herb himself was filled with sunlight and warmth, so, like Midas, he quite naturally turned everyone he touched to gold, too—even a woman of a certain age in the throes of expecting: not an easy feat.

He imagined, and positioned, me as an homage to classical sculpture. Only Herb Ritts could master the paradox of creating a nude portrait, bathe it with sensuality—yet never reveal “too much.” These sensitivities were key qualities of this gentle, gracious, and wonderful man.

Bruce Weber: My Happiest Time

Two gifts, Bruce Weber and Grace Coddington, working on a 1995 South African portfolio with David and me, made for a charmed experience. Bruce brought buoyancy and joy; Grace brought trunks filled with classic mid–twentieth century clothing. For once it wasn’t just me gamboling for the camera; my husband jumped in, too. It didn’t feel like a shoot but like a capricious second honeymoon that just happened to include an extraordinary photographer and stylist: We were a merry band of four turned loose in South Africa. The photographs owe their radiance to Bruce’s brilliance at sensing the moment when fun, mischief, and intimacy converge.

It was during this sitting that Bruce created David’s favorite portrait of himself and me: two sweethearts sneaking a smooch, yet with David—ever the gentleman—playfully blocking the moment with his hat for the sake of politesse. David loved this photo for its play on privacy: a kiss that’s caught, yet shielded from view.

Some months ago, the stars demanded David’s presence. We surrendered a husband, a father, a father-in-law, a friend, a mentor, and all the nameless daily ecstasies that occur between people who love one another. The outpouring of grief over David’s passing has helped me tremendously, though sometimes I’ve been at odds with it, too: Universal grieving for your life partner can also keenly deepen your own sense of all that you’ve lost. David gave me the most exciting, touching, and deliriously loving 24 years. Still, it was not enough— shockingly brief. And although I’ll never get used to losing him, David is nonetheless hiding in plain sight. We have our beautiful daughter, Lexi, now seventeen; a year ago, David’s son, Duncan, and his wife, Rodene, gave birth to a son, Stenton; my daughter Zulekha and her husband, Jason, will bless us with a baby this summer. With this burgeoning family, I’ve added a new title to my list: Nana. So I’m Mom and Nana now, while striving to live up to my name in spirit and example; to have iman; to always have faith. As for David, I have perfect iman that we’ll be together again. Love doesn’t cease; love reshapes.

“Movement Is on the Front Line of Every Decision”, is Move Venus Williams

Most professional athletes are accustomed to prioritizing function over form with the clothes they wear to compete. Of course, that’s a tough pill to swallow if you’re someone who cares about fashion, too. The best way to get you athletic-wear that does both? Do like Venus Williams and design your own. EleVen by Venus Williams, which she launched in 2007, includes tops and bottoms, plus a tennis-friendly line that the 37-year-old great will be sporting when she steps on the U.S. Open courts over the next few weeks.

After looking at some of the styles from her newest collection, Epiphany, ELLE.com connected with the pro for real tips on how she stays stylish without hampering her ability to win.

What do you consider when selecting and designing stylish pieces that also allow for ultimate athletic performance?

“It’s important I accomplish the vision for the season while never compromising performance. And fit is very important. It has to be perfect and ready to move with you no matter the workout. After that, I’m a firm believer that style depends on your mood. The Epiphany line is perfect for this season: It was inspired by confidence and determination, which you can see in the boldness of the pattern and color. She’s not afraid to unapologetically put her best foot forward. The Epiphany line also has our EleVen Pro-Dri fabric, which breathes to keep you cool. For comfort, I love our Seamless line. The pieces fit like a second skin. I wear something from Seamless everyday.”

Do certain colors or prints work best when you’re going to be seriously sweating?

“I don’t think you should ever hide sweat! It shows you have done the work—I wear it like a badge of honor. That being said, dark colors like black and light colors like white hide sweat best. Grey shows it the most. Typically patterns don’t show sweat.”

What don’t women consider when it comes to what they’re wearing to work out?

“As an athlete, I design with movement at the forefront of every decision. EleVen ensures all designs are appropriate for each endeavor, for appearance and efficiency. The fit has to be there so that what you’re wearing doesn’t distract you.Whether you’re running errands or a marathon, EleVen is designed to help you perform, to push your limits. Your focus is on your performance.”

What’s the relationship between your on- and off- court style?

“My look always reflects how I want to express myself. When I want to feel powerful on the court, I’m wearing strong, colorful pieces from my line, like our flutter skirt or the race day tank. How I see the world and my unbreakable, positive outlook on life—no matter the challenges I face—shapes the collection. It breathes positivity and optimism. It’s a message I want to pass to each new every woman who wears EleVen.

“Off the court, I’m addicted to dresses and skirts. I live in warm weather—I’m spoiled! I’m not immune to fashion faux pas though; I’ve had some regrets about what I’ve worn in the past. That said, I don’t dwell on those moments because I’m always focused on what’s next.”

Maria Sharapova Will Return to U.S. Open Wearing Riccardo Tisci Tennis

After serving a 15-month doping suspension, Maria Sharapova is set to make her first U.S. Open appearance next week — and she’s planning on doing it in style.

The former world No. 1 tennis pro will be outfitted in a chic little black (tennis) dress, designed in collaboration with Riccardo Tisci and Nike for her evening matches during the Grand Slam. According to Vogue, the dress features technical lace, eyelet-like perforations and Swarovski crystals. It also comes with a matching bomber jacket.

There’s a meaningful reason behind the dark hue, which quite literally the opposite of the typical white tennis garb: in 2006, Maria won the U.S. Open wearing a black dress.

“It was always going to be black,” 30-year-old Sharapova, who is currently ranked 148th in the world, told Vogue. “When I think of anywhere that I play, I want to bring a sense of elegance to the feeling that I have when I walk onto the court. That’s what I felt with the 2006 dress, and what I really wanted to relive in this dress is the moment of elegance and thinking of Audrey Hepburn and her classic Givenchy dress.”

Of the look, Tisci told Vogue he was “very happy” with the outcome. “It is very modern and pure. Everything is very geometric. The lace looks like the classic fishnet they use on tennis outfits, and the shape, the design is very pure. It’s very elegant, very minimal but at the same time very strong,” he said.

The partnership between the trio isn’t entirely surprising — Sharapova has been with Nike for more than 10 years, extending her contract by eight years for a whopping $70 million in 2010. And though Nike did cut the partnership short in 2016 following the doping scandal (Maria tested positive for the banned substance meldonium at the 2016 Australian Open, but she maintained she had been taking the drug for a decade to treat various health issues), they brought her back on after the Court of Arbitration for Sport cut Sharapova’s two-year ban to 15 months, stating it did not believe the tennis player’s doping was intentional.

Tisci, too, has collaborated with the sportswear giant in the past, first in 2014 with aspecial AF1 collection, and later in 2016 on a Dunk Lux High shoe and an athletic apparel collection with NikeLab.

Sharapova’s entire Tisci x Nike ensemble will be available for purchase on Aug. 26 in Nike stores, with the dress priced at $500 and the jacket at $700.

Nike Team Associates With Virgil Abloh White

The sneaker giant is teaming up with the label’s designer, Virgil Abloh, on a special capsule collection which reimagines 10 iconic Nike styles, including the Air Jordan I, Nike Air Force 1 Low and the Nike Air VaporMax . Dubbed, “The Ten,” the collection will be divided into two themes: “REVEALING,” which is designed to look accessible (“hand-cut, open-source and reconstructed,” says Nike) and “GHOSTING,” designed with translucent uppers to “further the idea of revealing and unite the second set of silhouettes through common material.”

“What we’re talking about here is larger than sneakers, it’s larger than design culture,” 36-year-old Abloh, who, as a teen, sketched shoe ideas and mailed them to Nike, said in a press release. “It’s nothing short of state-of-the-art design. These 10 shoes have broken barriers in performance and style. To me, they are on the same level as a sculpture of David or the Mona Lisa. You can debate it all you want, but they mean something. And that’s what’s important.”

For the “REVEALING” collection, which includes includes the Air Jordan I, Nike Air Max 90, Nike Air Presto, Nike Air VaporMax and Nike Blazer Mid, Abloh used an X-ACTO knife to deconstruct and rework the styles. (“Yes, we’re making a desired product, but by making a trip to your local store, and using tools you have at home, you could also make this shoe,” he explained). This involved revealing foam within the shoes’ tongues (and moving their Nike labels), moving the Swoosh placements and adding pops of colour through orange tabs in various locations per shoe. He also added literal placements of text in Off-White’s signature Helvetica typeface, putting “AIR” on the Nike Air VaporMax, Air Jordan I and Air Presto and “SHOELACES” on the shoe string.

The “GHOSTING” set, which includes Converse Chuck Taylor, Nike Zoom Fly SP, Nike Air Force 1 Low, Nike React Hyperdunk 2017 and Nike Air Max 97, came afterwards, as a sort of “evolution to the reveal.”

According to Nike, Abloh’s turnaround on the collection was “one of the fastest collaborations Nike has ever completed” (10 shoes in roughly 10 months from ideation to release).

“Most of the creative decisions were made in the first three hours, while actual design and iteration took two to three days,” Virgil recalled. “The Jordan I was done in one design session. I work in a very like dream-like state. I see it, and it’s done.”

This isn’t the first time Nike has teamed up with a major fashion designer — last year, it collaborated with Riccardo Tisci, Louis Vuitton men’s designer Kim Jones andBalmain’s Olivier Rousteing.  However, this collection in particular is being viewed as a smart move on Nike’s part, according to the Business of Fashion.

“For Nike, it’s a comeback with a more long-term plan compared to what it used to be with one-off collaborations. They now see these natural people that have the right branding for them to align themselves with,” Yu-Ming Wu, founder of Sneaker News, told BOF.

And Abloh insists “The Ten” is more than “just another hypebeast project.”

“The future of streetwear is that it should no longer serve itself. This project is truly a democracy of how design explores the world,” he told BOF. “I’m interested in how the kid that’s standing outside his or her local Foot Locker or Nike Town buying Jordans and taking my ideas gets inspired and takes a marker to the shoes or attaches a red zip tie and now they’re part of the conversation.”

The first five icons of The Ten (“REVEALING”) will be pre-released at NikeLab stores in New York City (Sept. 9-13), London (Sept. 18-22), Milan (Sept. 21-25) and Paris (Sept. 26-30). The full collection including all 10 silhouettes will be available in November at NikeLab stores and select retailers worldwide.

Planning To Start A Store Business Store

Opening a fashion retail outlet is not as easy as it sounds. Just like any other business venture, opening a clothing store can indeed be tricky. This is the reason why you need to have a clothing store business plan. Your business plan will serve as your guide as you go through the twists and turns of starting your own fashion and clothing store. Here are some factors that you must consider and include in your plan.

How much capital are you putting in? This is a very important aspect of the business plan. This will help determine how big and how extensive the business will be. This will also help determine how much merchandise you will be able to initially invest in. The capital stated in your clothing store business plan will also help determine several other important aspects of your store such as the location and the number of employees. A good location choice is important in ensuring the success of your business. Make sure that you are in a location where your market can easily access your products. At the same time, knowing how many people to employ will help you make a good projection for your costs. Know how much of the work you can do yourself in order to save costs.

Another important aspect to consider in your clothing store business plan is your target market. If you have yet to establish a name in the clothing and fashion retail industry, it is important that you first make your mark by focusing on a specific market. Are you selling clothes for women or men? Do you want to focus on kids’ clothing or perhaps you would be interested in selling clothes for babies and infants? Focus on a target market and be an expert on what they need as well as on the latest trends.

When making your clothing store business plan, it is also important to clearly envision how your business will run in next six to twelve months. This way you will be able to make a through list of your projected income and your projected expenses. List down the possible problems that you may encounter and how these problems can be resolved. There is nothing like being prepared for the worst.