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    • 175 Shares199 Views

      in Music

      A Night Out in New York With Sabrina Fuentes of the Band Pretty Sick

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      Hitting New York’s East Village with Sabrina Fuentes, the 24-year-old frontwoman of the band Pretty Sick.It was a Tuesday night in June, and Sabrina Fuentes, the frontwoman of the band Pretty Sick, was about to make her usual Tuesday night rounds in Lower Manhattan. That meant hitting a bar or two with the idea of ending up at Studio 151, a sushi restaurant above the nightclub Nublu.As the night got started in earnest, Ms. Fuentes, 24, was having a glass of orange wine at a sidewalk table outside Time Again, a bar on Canal Street co-owned by the Queens rapper Despot, né Alec Reinstein. Ms. Fuentes was wearing low-cut Issey Miyake jeans, a black tank top and Repetto ballet flats. On her right shoulder was a temporary tattoo featuring a butterfly and the words “Bite me.”The actor Reza Nader joined her at the table. He mentioned that he had recently filmed a scene for an episode of “Law & Order: SVU.” Then he asked her for some advice on a problem he was having in his romantic life.Mr. Reinstein stopped by to ask Ms. Fuentes if she needed anything before turning his attention to the rapper Lil Yachty, who had arrived with a group of friends in a compact SUV.Ms. Fuentes is a lifelong Manhattan resident who lives with her parents on the Upper East Side. She formed Pretty Sick when she was a teenager, and its first album, “Makes Me Sick, Makes Me Smile,” came out in 2022. Pitchfork had nice things to say about it, though it took a slight dig at Ms. Fuentes for doing very little to disguise her musical influences (Nirvana, Hole, the Breeders, Blondie and Iggy Pop, among others).This month Pretty Sick is releasing an EP, “Streetwise.” At the same time Ms. Fuentes will put out a limited line of clothing, P.S. by Pretty Sick, to be sold on a website and in several Heaven by Marc Jacobs stores.We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

    • 125 Shares199 Views

      in Theater

      Tonys Red Carpet Looks: Angelina Jolie, Brooke Shields and More

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      Broadway’s biggest stars descended on Lincoln Center in Manhattan on Sunday for the Tony Awards, an annual celebration of all the people — casts, crews and creatives — who make live theater the spectacle that it is. Since many attendees spend most of the week in costumes, the Tonys was also a chance to get dressed up and showcase personal style.The red carpet — technically a shade of blue — was packed with A-listers, a reflection of the star-studded productions that have recently overtaken Broadway. Alicia Keys, Jay-Z, Sarah Paulson, Billy Porter and Nicole Scherzinger were among the celebrities who graced the awards show this year.Purple might have been the color of the evening, with several attendees incorporating shades of it into their ensembles. Men and women alike embraced bows, which appeared around some people’s necks and at the shoulders or waists of others. Of all the outfits, the following 17 stood out the most — for better or worse.Elle Fanning: Most Femme Fatale!Dia Dipasupil/Getty ImagesInstead of a shirt, the actress, a star of the play “Appropriate,” wore a silver necklace beneath her sleek Saint Laurent tuxedo jacket.Brooke Shields: Most Sunny and Sensible!Dia Dipasupil/Getty ImagesWe are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

    • 113 Shares149 Views

      in Music

      Françoise Hardy, Moody French Pop Star, Dies at 80

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      Françoise Hardy, an introspective pop singer who became a hero to French youth in the 1960s with her moody ballads, died on Tuesday. She was 80.Her death, from cancer, was announced by her son, Thomas Dutronc, in a post on Instagram, saying simply, “Mom is gone.” No other details were provided.With songs like her breakthrough 1962 hit, “Tous les Garçons et les Filles” (“All the Boys and Girls”), and later “Dans le Monde Entier” (“All Over the World”); her lithe look, prized by star fashion designers; and her understated personality, Ms. Hardy incarnated a 1960s cool still treasured by the French.“How can we say goodbye to her?” President Emmanuel Macron of France said in a statement on Wednesday, a play on the title of Ms. Hardy’s 1968 hit “Comment Te Dire Adieu” (“How Can I Say Goodbye to You?”).She was the only French singer on Rolling Stone’s 2023 list of the 200 best singers of all time.Ms. Hardy in 1969. Her singular look — tall, long brown hair, a natural reticence — catapulted her into the worlds of fashion and film. Joost Evers/Anefo, via The National ArchivesWe are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

    • 125 Shares109 Views

      in Television

      The Best Dressed People in Hollywood Are Not the Actors

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      Cinephiles can’t seem to help obsessing over their favorite filmmakers’ personal style.Last month, while perusing a copy of the book “How Directors Dress” — a collection newly published by the entertainment company A24 — I came across a striking full-page photograph of the filmmaker David Cronenberg. It was taken at the 2014 Cannes Film Festival, where Cronenberg accented an otherwise-formal outfit with a pair of oversize wraparound sunglasses designed for mountaineering. These white-framed, gogglelike shades have since become a signature accessory for the director, who has worn them at Cannes so often that audiences there sometimes applaud when he puts them on. In late May, one video making the rounds on social media captured the moment when a standing ovation for Cronenberg’s latest film was briefly hijacked by cheers for the sunglasses.There are a few different ways to explain people’s fascination with Cronenberg’s choice. There is its sheer incongruence as a red-carpet look. There is the fact that Cronenberg, who does few interviews, has never explained it. And there is the fantastically meme-ready manner in which he puts the shades on: He tends to look as if he’s about to retreat in satisfaction from an argument he has handily won.The deeper appeal of the look, though, should be obvious to anyone familiar with the way online cinephiles post about famous directors and their clothes: David Lynch’s obsession with “a good pair of pants,” or Francis Ford Coppola’s “insane drip” in photographs taken during the filming of “Apocalypse Now,” or the charm of Wes Anderson’s enduring commitment to corduroy suits. That the people behind the camera needn’t be costumed, and aren’t meant to be seen, makes their self-presentation all the more interesting — and, we might suspect, more revealing. Our interest in Cronenberg’s shades is about identity as much as auteurism. It’s about the way dedication to a highly personal aesthetic — in fashion as in filmmaking — hints at an all-consuming vision that transcends both.The director David Cronenberg in his signature white sunglasses at the Cannes Film Festival in May.Pascal Le Segretain/Getty ImagesOne of the earliest filmmakers to adopt this kind of sartorial persona was Alfred Hitchcock, whose fine suits amounted to a uniform — one that helped make him as recognizable to the public as his superstar actors and actresses were. “How Directors Dress” is replete with other examples. John Ford favored billowy slacks, open-collared dress shirts and neckerchiefs in place of neckties. (This last touch — shared by, among others, Peter Bogdanovich — now rivals the beret and Cecil B. DeMille’s jodhpurs as a deep-rooted cliché of how directors dress.) Jean-Luc Godard wore his suits like rumpled leisurewear, sometimes without a tie and often with dark sunglasses. As men’s wear grew less formal, Woody Allen would stake a claim on baggy khaki and corduroy as the uniform of a tweedy, tightly wound New Yorker. Spike Lee would craft a larger-than-life persona around Nike sneakers, basketball jerseys and baseball caps. Rainer Werner Fassbinder, who directed more than 40 films before dying of a drug overdose at 37, cultivated a look as chaotic as his short, astonishingly busy life, dressing himself in everything from running shorts to leather jackets to leopard-print suits on his sets.Other directors adopt a uniform so utilitarian — picture Steven Spielberg’s bluejeans, trucker caps and many-pocketed camera vests — that they transcend practicality to the point of self-parody: The filmmaker winds up somewhere between a hiker and a safari guide, intrepid, ready for the challenges of any location, any set. At the opposite end of the spectrum is Quentin Tarantino, who tends to dress on theme, in everything from jeans and tropical shirts to track suits and Kangol hats. But however clichéd or iconoclastic the look may be, the fashion designer Yohji Yamamoto suggests in an afterword for “How Directors Dress” that filmmakers are never more attuned to their own sense of fashion than they are on a movie set, in the clothes they’ve chosen for the specific purpose of doing their work. “Each director has their own reason to wear something,” he writes. “While they’re making a film, they are in their natural setting: Their styling is natural.”We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

    • 88 Shares179 Views

      in Movies

      Robert De Niro Doesn’t Mind Being Celebrated

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      Outside the Odeon in Lower Manhattan on Monday night, the bistro’s famed neon sign peeked above a tent shielding celebrities from onlookers trying to glimpse the red carpet at the Tribeca Film Festival’s 17th annual artists dinner.Selma Blair shared the spotlight with Scout, her service dog, who has been her companion since her 2018 diagnosis of multiple sclerosis. The actor Blake Lively, who arrived late in Chanel, a sponsor of the night, was apologetic to the photographers for making them wait.“I would’ve bought you Shake Shack or something,” she called out to them as she posed.Selma Blair with her service dog, Scout.Rebecca Smeyne for The New York TimesLily Allen, the singer, and David Harbour, the actor.Rebecca Smeyne for The New York TimesRachel Antonoff, left, with Olivia Munn, the actor.Rebecca Smeyne for The New York TimesChloe Fineman, the actor.Rebecca Smeyne for The New York TimesAfter the step and repeat, more than a hundred actors, directors and artists filed inside the restaurant, a neighborhood mainstay since the 1980s known for its steak frites and celebrity regulars. That evening, the Odeon was even more star-studded than usual: For this year’s dinner, which honors artists who donated work to be given to winners at the film festival, Chanel had pulled in many of the famous names from its Rolodex, who are known to make appearances at their functions wearing the brand.They had also come out to help celebrate the festival’s co-founder, Robert De Niro, who turned 80 last year. “De Niro Con,” a series of screenings and talks, plus an immersive exhibit, starts on June 14.We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

    • 138 Shares129 Views

      in Television

      ‘Becoming Karl Lagerfeld’ Seeks to Capture the Man Behind the Glasses

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      Set in the 1970s, the series depicts the designer’s personal and professional evolution and revolves around an intense love story.Daniel Brühl had just started shooting the series “Becoming Karl Lagerfeld” in Paris last year, and he could feel the French crew’s eyes on him. The German actor, who was playing the title role, was all nerves. After his first few days on set, he returned to his dressing room to find an enormous bouquet of, as he put it, “the biggest and reddest roses I’ve seen in my life.” There wasn’t any note.When Brühl put the flowers in a vase at home later, however, he spotted a small card tucked among them. “It said ‘For Karlito, from Jacquot,’” he recalled in a video interview. “Nothing else.”He realized the gift was from his co-star Théodore Pellerin, a Canadian actor who portrays Lagerfeld’s great love, Jacques de Bascher; Pellerin had signed the card with their characters’ nicknames. Brühl knew then that he and the series, which revolves around the intense love story between the two men, would be fine.“Becoming Karl Lagerfeld,” which premieres on Friday on Hulu, is set mostly in the 1970s, a decade that was key to Lagerfeld’s development as a fashion designer as well as his personal evolution. It was before he formed his distinctive look of a sharp-angled figure decked out in monochromatic costumes, high collars, black gloves — though the tinted glasses and signature ponytail make their appearance. Like Andy Warhol, another secretive pop-culture icon, Lagerfeld meticulously manufactured his public identity, Brühl said: “So who was the person before he was famous?”Brühl briefly met Lagerfeld, who died in 2019, about 20 years ago on a photo shoot and remembers him as “very charming.” When Brühl had to become the designer, he did a deep dive, reading up, for example, on the many artistic fields Lagerfeld had been interested in: “literature, arts, architecture, design, and fashion, of course,” Brühl said. “I wasn’t bored a single second spending time with Karl Lagerfeld.”Still, there needed to be a way in, and for the creator and showrunner Isaure Pisani-Ferry, it was de Bascher, who was 21 to the designer’s 38 when they met. “It was this moment in the ’70s when he falls in love, which means loss of control — and this is a man who needs to be in control,” Pisani-Ferry said of Lagerfeld in a video conversation.We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

    • 100 Shares129 Views

      in Movies

      Diane von Furstenberg, a Fashion Lioness in Winter

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      Diane von Furstenberg’s friends like to tease that, had she been on the cinematic Titanic, she would have found a way to hoist up Jack from the freezing water and onto that wooden door. Three days later, Jack in tow, she would have sashayed into a soignée New York dinner party wearing that 56-carat blue diamond necklace.The woman has a strong will.I realized that the first time I met her in 1975, when I was a cub reporter at The Washington Star. At 28, Ms. von Furstenberg was already a sensation with the phenomenally successful $86 wrap dress; she had conjured it after seeing Julie Nixon Eisenhower on TV defending her father during Watergate, wearing a DVF wrap top and skirt.The tycooness, on a visit to D.C. to promote her brand, was in a rush to get to the airport and asked if I could come down to her car for the interview.I felt like I was climbing into a cage with a panther. I got into the back of a black limo and there she was in a dark mink coat, her long dark hair with a henna sheen spilling over her shoulders, her legs sheathed in black fishnets. She was nibbling from a box of dark chocolates on her lap. In her sultry Belgian accent, she offered me one. Her voice, as her late friend, Vogue’s André Leon Talley, said, “wraps itself around you like a cozy, warm cashmere muffler.”That half-hour in her limo was a revelation. In an era when we were instructed by male “experts” to dress and act like men to get ahead, Ms. von Furstenberg insisted on living a man’s life in a woman’s body. Her message was bracing: Meet men as equals but don’t imitate them. Ambition and stilettos can coexist.I immediately tossed out all my hideous dress-for-success floppy ties.I caught up with Ms. von Furstenberg recently to talk about a new Hulu documentary, “Diane von Furstenberg: Woman in Charge,” on her vertiginous, glamorous life, a life darkened by the Holocaust, AIDS, her bout with tongue cancer and her periodic business woes.We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

    • 125 Shares99 Views

      in Movies

      Did Cate Blanchett Make a Pro-Palestinian Fashion Statement at Cannes?

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      The actress hasn’t said so, but some internet users think she did. Plus, a bleak week for small fashion brands and wedding dresses for fashion-forward brides.Since the start of the Israel-Hamas war, followers of events known for being fashion spectacles — the Oscars, the Met Gala, Eurovision — have watched them become venues for making sartorial as well as political statements about the conflict.The Cannes Festival in France has not been immune to this trend. Several attendees have used the red carpet on the Croisette to show their support for Israelis or Palestinians during the film festival, with some wearing sashes saying “bring them home,” referring to Israeli hostages taken by Hamas, and others wearing red pins calling for a cease-fire in Gaza.Off the carpet, the model Bella Hadid ate ice cream near the beach in Cannes wearing a dress made of the material used for kaffiyehs, the scarves long seen as a symbol of Palestinians solidarity and identity.But those obvious displays have not generated as much buzz as the dress that the actress Cate Blanchett wore on Monday to the premiere of “The Apprentice,” a docudrama about the early life of former President Donald J. Trump.At first glance the gown — a piece from the designer Haider Ackermann’s one-off spring 2023 couture collection for Jean Paul Gaultier — looked like a simple black dress worn with a pearl necklace across the length of Ms. Blanchett’s bare shoulders.But as she began to walk the carpet, flashes of other colors emerged: The back of the dress was a pink so pale that it appeared white, and the gown had an emerald green interior lining that Ms. Blanchett repeatedly revealed by lifting its train. The dress had been significantly altered since it appeared on the runway, where it had a knee-length hemline, a lime-green back and a lavender lining.We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More