This week, the best dressed stars embraced theatricality on the red carpets. Big, bold silhouettes prevailed at movie premieres and Hollywood parties—whether it was dresses with voluminous ruffles, slouchy denim boots, or even sequined hoods. The memo among A-listers was to expect the unexpected when it came to their fashion choices.
Some of the standouts this week? Certain celebrities opted for vintage ensembles with strong shapes. Take Sydney Sweeney at the HCA TV Awards this weekend, when she revived a Mugler dress from 1981 that had exaggerated peplums. Or Kylie Jenner, who celebrated her 25th birthday this weekend in a vintage Paco Rabanne look. The silvery getup complete with a disco ball-like hood, which was ready to party the night away in.
Impactful colors also had a moment. On the Jimmy Fallon show, Never Have I Ever star Maitreyi Ramakrishnan opted for a Zimmermann floral dress with tons of ruffles, While out in New York, Lili Reinhart also slipped into Tory Burch’s sporty dress with a dash of yellow color-blocking. Speaking of New York, however, there was one city street style moment that truly stole the show: When Rihanna emerged in Y/Project’s extra-slouchy denim boots, fresh off the runway. A head-turning accessory only the Bad Gal herself could truly pull off.
Which were your favorite celebrity looks this week? Be sure to vote below, and check back on Friday to see which ensemble is the ultimate best dressed of the week.
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Plus Size Model James Corbin on the Power of Walking in Fashion Week
The Fashion Month runways have historically shunned size inclusivity, but the tide is changing slowly but surely. Now, models of all different body shapes appear on the catwalks. Progress in the menswear space, however, has been even more stagnant: This season has seen few plus-sized male models sport the new collections. But during London Fashion Week earlier this month, S.S. Daley’s spring 2023 show featured several plus-size male models—one of which was James Corbin, a 23-year-old London-based model on the rise. Below, Corbin sounds off on the power that came with him walking fashion week, and where he hopes fashion can head in the future.
My family’s Caribbean and Kenyan, but I’m born and bred in London. I grew up in Brixton, around Caribbean and Jamaican people. I never thought of fashion as something that I could be a part of. I’ve always been a big kid, so I thought I had no business thinking about anything in front of the camera.
In the middle of lockdown, I got a DM from a casting director to do a shoot for Vogue Italia. I didn’t think it was real. I was like, I don’t look like a model. It was a shoot about happiness, but I remember having imposter syndrome. We got the shot within a minute. When it came out, it had such a big reaction—it ignited a feeling that I’ve never felt before. I felt useful. I realized that I have a purpose here. It wasn’t just plus-size people I was getting messages from: It was men and women who’ve also had issues with how they see their body.
That shoot led to me reaching out to modeling agencies, and I was just honest. I said, “I want to see a change within fashion.” I got through to the director of [my agency] Supa, and I got signed. I needed somebody who was willing to be an industry groundbreaker—a trailblazer. I immediately started working with Tim Walker and Charles Jeffrey Loverboy; I got the front cover for Perfect magazine within the first few months. I was so grateful, but I was learning along the way that brands still aren’t making clothes for me in my size. When I started asking when I could do runway, I was told, ‘You can’t, because there’s no clothes being made for you.’
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‘Supreme Models’ Tracks the History of the Black Model in Fashion
Thankfully, the days of one or two Black models being the fashion industry’s “It Girl” are gone. There are a growing number of marquee names walking down the runways: Adut Akech, Duckie Thot, Precious Lee, and many others. Sadly, this was not always the case. How did the Black model finally get embraced, and celebrated, by fashion brands and publications?
A YouTube original docuseries from Vogue and The Machine, a production company founded and led by The September Issue director R.J. Cutler, tracks the cultural history of the Black model in fashion. As journalist and author Marcellas Reynolds poignantly explains it, “The history of the Black model—specific to fashion—is actually the history of the Black person in the United States.”
The six-part series is an adaptation of Reynolds’ bestselling book Supreme Models: Iconic Black Women Who Revolutionized Fashion, which celebrates these figures through essays, interviews, and photos. The series is rich with personal conversations and testimonials from enduring trailblazers like Iman, Bethann Hardison, Pat Cleveland, Joan Smalls, and more. Fashion industry icons and talent also make appearances, including Anna Wintour, Edward Enninful, Zendaya, Olivier Rousteing, and Zac Posen.
There is a focus on shining light on under-discussed pioneering moments for Black voices in fashion. For example: Industry experts reflect on the inspirational ascent of Donyale Luna (who was the first woman of color to ever appear on a Vogue cover). Bethann Hardison provides a firsthand account of what it was like to take part in the historic 1973 fashion show Battle of Versailles. Iman discusses launching a, at the time, revolutionary POC-focused makeup line in 1994 after continually encountering makeup artists and beauty brands that lacked foundation shades suitable for darker skin tones.
Supreme Models, which is part of Youtube’s Black Voices Fund initiative, is a riveting and necessary education on the evolution of meaningful inclusion of POC women in fashion and, simultaneously, the world writ large.
Watch episode one of Supreme Models below:
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Chloé’s Rave-Inspired Metallic Eye Takes Less Than a Minute to Recreate
In Holli Smith’s chair, Angel Prost sat as the hairstylist smoothed Carol’s Daughter Healthy Hair Butter through the lower half of her bleached lengths. “Honestly, they just rereleased it—you’re only allowed to buy five at a time,” Smith says of the cult-favorite product, which is regularly sold out. It’s Smith’s solution for creating a slick style with ends that move with the beat. On top, Oribe Volumista gripped hair into a side-parted bang that looked so cool there were already discussions of recreating it for the afterparty. The products, combined, created a “tight” look with “more edge” than floofy, volumized, extension-enhanced hair (continuing the thin hair revival that started on New York’s Eckhaus Latta runway.) Some models had center parts, some had braids, and according to Smith, “side parts need to be re-examined.” Today, she proved that flipping around your style and mixing it up can be the best way to extend a cut. “What I’m trying to do is show how you play with a look—people don’t know how to do that because we’ve been in this raw zone for five years of naturalness, or they get the cut, they get the color, they have extensions, and they never think to play with it.” Treat hair like makeup, she says, and try something for a night out.
And doing exactly that, makeup artist Hannah Murray delivered DIY “extreme silver eye paint” transformations, which turned the old-school Chloé aesthetic on its head. What’s more, is that the look can be accomplished in no time at all. “It takes two seconds, and needs to feel like they’ve done it themselves,” Murray said of the swipes of unbranded silver theatrical paint that she pressed into the inner corners of eyes and swiped onto the outer edges. “There’s a hint of rebelliousness and toughness,” she said. (There’s also an abstract-painting moment happening in Paris, with models at Anne Isabella in silver eye makeup that read like a sheer mask, and chalk-white scatters across faces at Caroline Hu) To chill out icy blondes even more, Murray bleached their eyebrows, and eight models got a grungier, night-after-the-party silver eye, while others like South Sudanese model Bigoa, received glossy lids. Everyone, though, had a strobe cream base of Bobbi Brown Bare Glow Extra Illuminating Moisture Balm to perfect skin, while no one wore mascara, Murray notes—because “that would make it too pretty.”
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