Donald Trump missed the opportunity to become a General Patton-style military commander and glorious war hero back in the Vietnam era. He surely would have been the greatest ever in history!But he says, alas, some unspecified foot problem (or something or other) kept him from the privilege of actually having the chance to go fight in that war. Bad luck, I’m sure. But now that the Donald is the commander in chief, his inner warrior has been given a second chance to bloom, and this time he’s fully enlisted. In recent weeks, President Trump has escalated a running war of words against Chancellor Angela Merkel of Germany, bombed the European leaders of NATO with explosive charges that they’re unworthy of his support, launched a fierce new barrage of tough rhetoric in his extralegal offensive to ban all travel to the U.S. by anyone from six Muslim nations, and opened an entirely new battlefront by attacking the mayor of London with one of his Twitter missiles.In last year’s presidential campaign, Trump declared with typical modesty, “There’s nobody bigger or better at the military than I am.” Well, I’m certainly no expert on war, but if a president is going to pick a mess of foreign fights, wouldn’t it be better strategically speaking to pick on actual enemies rather than on America’s allies? After all, there might come a time when we need friends to stand with us.
In a year when American airline companies have been receiving scads of terrible publicity, Delta Airlines is opting for the safe route and pulling its funding from Shakespeare in the Park.The airline is responding to a controversy in which, during their recent production of “Julius Caesar,” the Roman emperor was depicted as resembling Donald Trump, according to Vulture. Because there is a scene in which Caesar gets assassinated (of course), this creative decision has stirred up considerable controversy.
This was updated 11:15 a.m. ET to reflect that Sessions will testify before the Senate Intelligence Committee.
Ava DuVernay’s documentary ,”13th“, discusses how mass incarceration perpetuates racial inequalities in modern America. It’s a modern masterpiece.Appropriately, two social activists, Duane “Shorty” Davis and Brian Dolge, found the perfect venue for a screening of the thoughtful, provocative film — the side of the Baltimore City Detention Center.The City Paper reports that police showed up roughy halfway through the Friday screening in an attempt to shut it down. The activists responded by offering officers food, which they refused to accept. They also tried to stop citizens from recording them, saying that they weren’t allowed to do so, which is not the case.
President Donald Trump’s first Cabinet meeting went exactly as one would have expected. In a bizarre event that paralleled an elementary school Student of the Month ceremony featuring kind words from every kid in the class, Trump, of course, appeared as the star pupil.Trump started Monday’s meeting by taking jabs at the schoolyard bullies he said were responsible for obstructing his agenda, Democrats in Congress, and blamed the “ethics committee” for the unprecedently slow progress his made on filing his sub-Cabinet.
Nick Wooster is downsizing for good cause.The fashion executive pulled “just under half” of his massive wardrobe to be sold at a pop-up sale this weekend in New York with 100 percent of the proceeds benefiting the Hetrick-Martin Institute, an organization providing critical services like clothing and food to homeless LGBT youth.“A significant portion of it is priced like whatever the designer resale market is,” explained Wooster of the 375 pieces selected for the sale. “But there’s maybe 20 percent not priced to move and is maybe what I paid for it since it’s going to the cause.”The former Neiman Marcus men’s fashion director pointed to a leather and shearling Brusko K. jacket priced at $3,250 as an item he is “not so psyched to get rid of,” but quickly noted the money raised isgoing to helpyoung peoplein need.Browsing through the color-coordinated racks at the 740 Broadway retail space one will find items ranging from muted cashmere sweaters toa pair of metallic gold Nike sneakers. While the men’s wear pieces aren’t for guys of every size, Wooster is confident the sale will be a perfect fit for many.“I’m a little bit of a magic size,” the designer explained. “I’ve been fat and I’ve been thin, so there is a mix.”The sale, which was curated by a team from Ralph Lauren, runs through April 2. Although Wooster may periodically stop by throughout, he insists he will not be a fixture at the fund-raiser. “I don’t want to be around and hear the feedback about my clothes — like, why would he buy that?” he said.A look from the HMI/Nick Wooster pop-up sale in New York.JP YIM/HMIYou're missing something!
“The Late Late Show” host James Corden is continuing his side gig as an awards show host. Corden, who hosted the 2017 Grammy Awards in February, has been tapped to host next year’s ceremony as well, when the show returns to New York for the first time since 2003. The news was revealed at CBS Upfront presentation on Wednesday. Corden also hosted the CBS-aired Tony Awards in 2016 at New York’s Beacon Theatre, and has served as emcee of the Brit Awards several times in past years.The host’s “Carpool Karaoke” segments, in which he rides around in a car with celebrities, are particularly popular. Harry Styles —who is in promotion mode, having dropped his solo debut album last week— will be the next celebrity to jump in the car with Corden. Their segment will air today, capping off Styles’ week-long residency on “The Late Late Show.”Who knows? Maybe the former One Direction band member will also get to join Corden at next year’s Grammys, set to take place at Madison Square Garden. No pressure. #GRAMMYsA post shared by James Corden (@j_corden) on Feb 12, 2017 at 11:41am PSTMore from WWD.com:Keri Russell Loves Shopping Online While Lying in BedEmma Roberts on Leaving ‘Scream Queens’ Look Behind and Being a BookwormFreida Pinto, Juno Temple AttendDior Cruise Welcome Dinner in L.A.Beyoncé Leads BET Awards NominationsLeToya Luckett on Moving Past Destiny’s Child and Playing Dionne WarwickYou're missing something!
DALLAS— The North American tour of “Iris van Herpen: Transforming Fashion” is giving a nice boost to the little-known Dutch couturier.“With each exhibition I’m meeting new people, and most of the museums are acquiring my work, so it’s a whole new journey of finding a new family,” van Herpen told WWD last week at a preview of the show at the Dallas Museum of Art.It’s definitely won her new clients, she said.Based in Amsterdam, van Herpen focuses on her two annual couture collections, often collaborating with an artist or architect to develop unusual processes and materials. All of the works are wearable, though some appear hazardous, like the stiff, jagged mirror foil dress in the exhibition.Van Herpen does very little ready-to-wear, a field she thinks is oversaturated.“I really believe I can add something to fashion within my couture because I can collaborate with other disciplines, and I can really move forward the techniques and materiality and the vision of fashion,” van Herpen said. “I have had periods where I did a little bit more of the ready-to-wear, but I feel there is already enough of that.”Van Herpen is also at work on a jewelry collaboration that should come to fruition within a year.The goal is to gain distribution, said the designer, who wore a metal bat necklace with her black jumpsuit.The exhibition features three of the most innovative and sculptural works from each of her couture collections from 2008 to 2015 as well as several eye-popping shoes.Her inspiration is rooted in art, science, architecture and dance, from her years studying to be a professional ballerina.“Dance is very important,” she said. “I think in a way you can see it in my work because everything is about movement and three dimensionality and the space around the body. Classical ballet taught me a lot about my own body and the relationship of the body and space around you.”Van Herpen said she gave up ballet to study fashion because of her fascination with materials.“With dance it’s all about the body,” she reflected. “When you are not dancing, the artwork is not there. What I really like about my artwork is it has a life after I make it. It goes to a person, and it takes a new identity because the wearer has a huge influence on the work. Even in a museum it’s a different context, and it’s not from me anymore, which I like.”The DMA is the fourth stop on the tour, which began in 2015 at the High Museum of Art in Atlanta. It runs through Aug. 20 here and then travels to the Cincinnati Museum of Art in the fall and the Phoenix Art Museum next spring.The show was co-organized by the High Museum of Art with the Groninger Museum in the Netherlands. The Groninger owns about 30 of the works in the show, according to visual arts curator Mark Wilson.“We believe this exhibition will resonate in this city,” said DMA director Agustín Arteaga, citing the city’s fashion and design communities. “Dallas is a city that is ignited by the talent of young people, a city always interested in embracing the new.”You're missing something!
Chef Geoffrey Zakarian is bringing Sixties glamour back to Hollywood, Fla., with Point Royal, his latest culinary offering at The Diplomat Beach Resort — a once popular destination for likes of Frank Sinatra and Dean Martin.“I sort of live the Rat Pack lifestyle,” Zarkarian chuckled. “They were very good musicians, but they also partied nonstop.” Nestled beachfront between Fort Lauderdale and Miami, the latest in Zakarian’s impressive portfolio — including eight eateries around the U.S. —reflectsboth the martini-soaked Sixties and its sun-soaked Florida locale.“We’re calling it ‘Coastal American’ cuisine,” continued the bespectacled restaurateur. “Everything is fresh. We’re doing real piña coladas, real daiquiris, really fun Cuban drinks.” The bright and airy dining room boasts a generously proportioned raw bar naturally featuring oysters, clams, Alaskan king crab legs and other freshly caught daily offerings.“It’s not a seafood restaurant, but there will be a good amount of seafood offerings,” explained the “Chopped” host who points out Point Royal’s uniqueness comes in itsquirky details. “We’re offering buckets of beer that come with a cute branded bottle opener. One of our main icons is an animated clam with arms and legs that the graphic team put a pair of glasses on, so it looks like a little Geoffrey clam.”Natural golden and blue hues of the Gachot-designed interior provide a tranquil backdrop to the kitschy branding. “It’s a very residential feel, but it’s also bright and very airy,” added Zarkarian, who hopes visitors and locals alike will use the space as a regular hangout throughout the day and for a surfside nightcap — or two — in the style of Ol’ Blue Eyes.You're missing something!
Embracing ParadoxExcerpted from “Beyond the Label” by Maureen Chiquet, reprinted with permission (HarperCollins)I stood beneath the chandelier in Coco Chanel’s apartment, neck craned, eyes wide open, as I soaked in the radiance of the amethyst and amber rock crystals, slender teardrops and swollen pear shapes, that shimmered and twinkled above me. If you looked closely, my guide pointed out, you could spy the interlocking double Cs (just like Chanel’s logo), Gs, (for Gabrielle, Chanel’s birth name), and the number 5 (her lucky number and the name of her now-famous perfume) that had been braided into the wrought-iron branches of the fixture.The guide tried to nudge me onward so we could visit the rest of the apartment’s wonders, but I couldn’t move. I was in awe. Every artifact I had seen, every anecdote I’d heard about this astonishing woman, was an object lesson in how originality, beauty, and style defy easy categorization and ready-made labels. Coco Chanel seemed to break every rule by combining seemingly opposite elements and by elegantly subverting convention to create something breathtakingly timeless and fresh. Even her ornately decorated apartment stood in stark contrast to her pared-down clothing designs. It was as if I were peeking into the soul of a true artist, a woman who refused to blindly accept the aesthetics of her time in order to invent her own. She represented everything I believed in and yearned to express.A few days later, I watched as artisans in crisply ironed white coats delicately placed a nearly invisible film over the top of each No.5 perfume bottle and then tied black cotton cord around the neck. Each craftsman twirled the heated end of a wax stick around and around the dark thread in a perfect circle, then embossed it with double Cs. The process was repeated twice to ensure the best imprint of the tiny logo. Each and every bottle of this renowned fragrance was finished by hand to guarantee the utmost quality of its precious ingredients. It took exceptionally skilled workers to implement this intricate task, a technique called baudruchage dating back to the 17th century, which prevents air and water from diluting the purity of this iconic fragrance. Most companies had long abandoned the hand-sealing practice, but not Chanel. It preserved this time-honored tradition, a nod to the unique heritage of its creations.Next I visited the distribution center, an enormous, nondescript bunker that had me convinced we’d arrived at the wrong address. High-tech robotics powered an assembly line of dollies stacked with cartons that whizzed by on gleaming silver tracks. Only a few humans were in sight amid the rows of floor-to-ceiling shelves piled high with boxes ready to ship. This, too, was Chanel, the very same company whose artisans embroidered intricate tweeds by hand, tailored each suit to the liking of each individual customer, and crafted one-of-a-kind pieces of jewelry. One foot in the future and one in the past, the House of Chanel was a study in contrasts.At my first fashion show, in a 17th-century convent, I sat a few rows back, sandwiched between Chanel’s discreet owners and other employees, as otherworldly models in intricately woven tweeds with handmade, jeweled buttons dotting the slim-fitted jackets ambled through the arcaded courtyard. I loved the elegant slit sleeves of those jackets, the frayed edges of the skirts, which added a twist to Coco Chanel’s classic designs. Many of the models’ hands were slung in their pockets or rested on the top of their belts, giving the otherwise expensive collection a casual air. I marveled at the designer Karl Lagerfeld’s seriousness and playfulness. He had an innate sense of how to reinvent Coco’s design language with new shapes, materials, and trim. The possibilities seemed endless.Back in New York, after a full year in Paris, I had begun to make myself comfortable in my new office. It was impossible to ignore the commanding views of Central Park, a riot of color this autumn, or to overlook the handles of the glass doors in the entry hall, shaped like the tops of the No.5 bottle. The large windows from my exquisitely decorated office made me feel as if I were actually living in a tableau vivant, floating with the drifting clouds. As I embarked on the next stage of my time at Chanel, I realized it would require me to hold tout et son contraire en même temps (“everything and its opposite at the same time”). That had been what Coco Chanel had done and what had made the brand an unparalleled success over the past century. Through my immersion in Chanel’s history, I’d come to appreciate why that sensibility was so vital to the company and how difficult it was to maintain. The question was how I would be able to contribute to that legacy, embracing the paradox at the heart of the house’s sustained success while also confronting pressing business challenges: one foot planted in the past, the other dipping its toe into the future.You're missing something!