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    In Praise of Adele and the Long Black Dress

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    As the artist brings her Las Vegas residency to an end, she leaves behind a major fashion legacy. Just call her Madame A.This weekend, Adele’s Las Vegas residency comes to an end and with it what may have been the most striking series of LBDs since Audrey Hepburn stepped out of a cab in “Breakfast at Tiffany’s” wearing Givenchy. Those initials don’t just stand for little black dress anymore.By the time the artist takes her last bow, she will have worn more than 50 long black dresses in Vegas (to say nothing of her concerts in Munich and London, where she also wore LBDs) — a different one every weekend. She started in an off-the-shoulder velvet Schiaparelli, with a long satin sash caught up by a gold buckle speckled with nipples (you read that right). She wore David Koma with crystal roses on Valentine’s Day 2023. She channeled Morticia Addams on Halloween that fall in Arturo Obegero. She got Loro Piana to make its first va-va-voom gown this month.She has worn, in no particular order, LBDs from Stella McCartney, Dior, Carolina Herrera, Harris Reed, Prada, Vivienne Westwood, Robert Wun, Proenza Schouler, Armani, JW Anderson and Ralph Lauren, to name but a few. All were custom-made. She has worked with names from across the industry and rarely repeated a designer twice.The only guidelines, according to Fernando Garcia, the co-creative director of Oscar de la Renta, who made the glittery sunburst number she wore for her Christmas 2022 performance, were that they be black, long, cut on the curve to show off her waist and needed to have enough give to let her lungs go.Adele has fancied the LBD for almost as long as she has been in the public eye (see the night-sky Armani LBD she wore to the Grammys in 2012). But the sheer number of black gowns she has worn during her residency, the variety and the consistency of her presentation, marks a new milestone in what may be the most timeless garment in the fashion pantheon.At the start of her Las Vegas residency, Adele wore a velvet Schiaparelli with a satin sash and gold buckle speckled with nipples.Kevin Mazur/Getty ImagesIn October. she wore a Gaurav Gupta LGD with an off-the-shoulder neckline that resembled wings.Raven B. VaronaWe 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

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      Film Noir Was All About Ticking Clocks and Checking the Time

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      Experts say the genre was all about suspense, and what better way to convey that to audiences than an obsession with time?The race against the clock — to solve a crime, to outwit a villain, to escape one’s fate — has propelled the plotlines of dozens of the movies that define Hollywood’s golden age of noir, the dark movies that dominated screens from the 1930s to the ’50s.“Time and film noir go together like ham and eggs,” said Alan Rode, an author and a director of the Film Noir Foundation, which sponsors Noir City, a continuing series of film festivals that this month has been scheduled in Chicago, Detroit, Washington and Philadelphia. “Time is a continuum not only of our lives, but also in film noir.”That foreboding sense of time defines film noir — in English, “dark film” — a phrase that was coined in 1938 by Lucien Rebatet, the French author who wrote under the pseudonym François Vinneuil, but is most closely associated with the French film critic Nino Frank. He used it in 1946 to define the cynical films of postwar America.The genre itself, however, has not been defined anywhere near as clearly.Some film scholars have said it describes detectives or private eyes caught up in a world of crooks and femme fatales who lead them astray. But a broader definition has been the immoral journey of a protagonist caught in downward spiral, all of it being clocked somehow in the shadowy black-and-white of film.“Film noir is replete with time moments, partly because the driving mechanism of its stories is suspense, and partly because the lost chances and missed deadlines of noir lends a strong mood of regret and pathos,” Helen Hanson, an associate professor of film history at the University of Exeter in England and the author of several books on noir, said by email.“Perhaps because film noir existed in an era defined by time and life lost during World War II, it featured a heightened sense of how quickly life can go haywire.”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

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      John Mayer on Being the Watch World’s Celebrity ‘Go-To Guy’

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      When the guitarist John Mayer takes the stage this week in Las Vegas, to cap Dead & Company’s 10-week residence at the Sphere arena, his wristwatch is bound to loom large on the venue’s massive LED screen.“I happen to have a job where my wrist is naturally looked at,” Mr. Mayer, 46, said last month on a video call from his home in Los Angeles.That suits the longtime watch collector (and downright watch nerd) just fine.“The number of people who come up to me and ask me what I’m wearing is far greater than the number of people who come up to me and say, ‘Love your music, or how’d you write that song?’” he said. “People want to know about watches more than anything. They’ll say, ‘Gotta ask: What do you have on?’ It’s such a great entree to conversation.”One of Mr. Mayer’s favorite talking points is his new collaboration with the Swiss watchmaker Audemars Piguet (A.P.). After three years of development, in March the brand introduced a Royal Oak perpetual calendar wristwatch designed by Mr. Mayer.Limited to 200 pieces, the $180,700 timepiece, encased in 18-karat white gold, featured a blue metallic dial inspired by the night sky as well as some subtle aesthetic details that Mr. Mayer conceived.“When you look at this perpetual calendar, the first thing you should see is the time,” he said. “You shouldn’t see the vastness of the universe when it comes to timekeeping if you’ve got 15 minutes to get to a meeting.”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

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      The Year of the Mega Sleeve

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      Raglan, fluted, leg o’ mutton, bishop, puffed, balloon — whatever you want to call them, we wore them.When Holly Waddington, the costume designer for “Poor Things,” Yorgos Lanthimos’s much heralded phantasmagorical film about a young women’s psychological and sexual awakening that opened on Friday, began thinking about what her heroine would wear, she said she was thinking “skinny arms and these kind of straight skirts with the big bustle.”The film, which is based on a 1992 book by Alasdair Gray and stars Emma Stone, is set in an unidentified time period that is sort of like the 1880s — if the 1880s took place in an alternate dimension in which time folded in on itself, so the past was also the future. In part, that’s why Ms. Waddington was drawn to a silhouette that was slim on top and exaggerated at the bottom.Also, it’s “quite phallic,” she said, “and that felt right.” Mr. Lanthimos had other ideas.“He said, ‘It’s about the sleeve,’” Ms. Waddington recalled. And so, indeed, it is.Ms. Stone amid a sea of ruffled sleevage.Atsushi Nishijima/Searchlight PicturesPuffed, ruffled and ruched to bulbous extremes, the sleeves worn by Ms. Stone’s character, Bella Baxter, are impossible to ignore. About 15.5-inches wide, they bounce across the screen in every scene like giant hot air balloons or supersize mammaries, bigger than her head, absurd and weirdly alluring, dainty and dominant. They are “vast,” Ms. Waddington said. “Huge.”But monumental as they are, they are also utterly on trend. “There’s something in the air,” Ms. Waddington said. “Yorgos was very tuned into that.” It’s not the marketing tsunami that was Barbie pink; it’s merely one of those cosmic moments when fashion and culture collide.Forget the power shoulder: 2023 was the year of the power sleeve. No matter the exact style — puffed, bishop, fluted, belled, leg o’ mutton, statement, mega, dramatic — all that really mattered was that it was big. Off screen as well as on.We have, said Daniel Roseberry, the creative director of Schiaparelli, “hit peak sleeve.”Sleeves, Sleeves, EverywhereStyle watchers began talking about a sleeve sweep at the end of 2022. “Forget what you knew about the statement sleeve,” the influential Italian boutique Luisa Via Roma proclaimed on its website. “This season, the style is more dramatic and bolder than ever.” The fall ready-to-wear shows were filled with sleeves — brushing the floor at Balenciaga and Rodarte; bowling ball-size at Thom Browne; rounded and sculptural at Schiaparelli.By Oscar time, sleeve mania had migrated onto the red carpet thanks to Florence Pugh, who wore a palatial puff-sleeve Valentino taffeta robe atop shorts; Jessie Buckley, in a Shakespearean-sleeve black-lace gown by Rodarte; and Mindy Kaling, whose white Vera Wang dress had detachable gauntlets-cum-sleeves.Puffed up: Clockwise from top left, Florence Pugh in Valentino; Kendall Jenner in Marc Jacobs; Jessie Buckley in Rodarte; and Michelle Yeoh in Lagerfeld. Nina Westervelt and Jutharat Pinyodoonyachet for The New York TimesAt the Met Gala in May, Kendall Jenner wore a sequined Marc Jacobs look in which the designer seemed to have taken all the fabric from what would have been the pants and transferred it to the sleeves. (Also joining the statement sleeve set: Michelle Yeoh, Kate Moss and Cara Delevingne.)Then Vogue put Carey Mulligan on its November cover in a peachy gown from the Louis Vuitton 2024 resort collection that had such complicated sleeves it looked as if she’d stuck her arms elbow-deep into two giant cream puffs. And then came “Poor Things” with what Ms. Waddington called its “commitment to sleeves.”Little wonder that in January, the museum at the Fashion Institute of Technology will kick off its 2024 programming with “Statement Sleeves,” an exhibition of almost 80 pieces from the permanent collection that will focus on how sleeves serve as “signifiers of status, taste and personality,” according to a news release. And though they cycle in and out of fashion, so it has always been.Arms and the WomanBig sleeves have been a part of dress for almost as long as there has been dress. Colleen Hill, the curator of costume and accessories at FIT, who is behind the museum’s sleeves show, said the world’s oldest woven garment — a V-neck linen shirt from the fourth millennium B.C., now in the collection of the Petrie Museum of Egyptian Archaeology in London — includes knife-pleated sleeves. During the Renaissance, sleeves were often the most elaborate part of a dress, as well as detachable; grooms often gave sleeves to their new brides.Sleeves became even more prominent in the Elizabethan, Victorian and Edwardian eras. By the 1830s there were so many different sleeve shapes and names, Ms. Hill said, that a woman’s sewing guide from the period stated, in effect, “we’re not going to give you all the styles of sleeves because it is impossible.”Carey Mulligan got big sleeves for her Vogue cover in November. VogueMs. Waddington said that when she was researching these periods for “Poor Things,” she went into fashion archives and discovered sleeves so extreme they were almost unbelievable. “This is the thing that fascinates me about historical dress,” she said. “The shapes are wild.” What looks like science fiction, she added, actually comes from “a 19th-century pattern.”Sleeves got big again in the 1940s thanks to designers like Adrian, the Hollywood couturier whose giant ruffled sleeves were a favorite of a young Joan Crawford and a precursor to the equally giant shoulder pads of World War II. And sleeves made a famous return in the 1980s, thanks in part to Princess Diana and the enormous fairy-tale-on-steroids sleeves of her wedding gown.It’s probably not an accident that the episodes of “The Crown” that focus on Diana, including the recreation of her wedding dress, have coincided with the return of big sleeves. Simon Porte Jacquemus specifically name-checked Diana as the inspiration for his fall 2023 show, which featured inflated sleeves. He said he was obsessed with her “dramatic round puffy sleeves.”“It shaped her silhouette in a sensuous way, but still with a poetic and naïve ’80s touch,” he said.What’s in a Sleeve?At first it may have seemed that pandemic lockdowns and the ascension of comfort clothing would kill the big sleeve. But the way that altered reality shrank our interactions to the size of a computer monitor may actually have turbocharged the trend.“We’re so often seen onscreen these days from the waist up, and sleeves are a way to stand out,” Ms. Hill said.Ms. Waddington said much the same, noting that the torso “is what the camera sees most of the time, so the information needs to be happening between the waist and the head.” And how much better when it is conveyed at volume. Or, rather, in volumes.Indeed, Mr. Roseberry said, sleeves “draw the attention upward to the face and the person wearing the garment.”Maximalist sleeves at Thom Browne. Simbarashe Cha for The New York TimesSleeves like a giant circle at Schiaparelli.SchiaparelliSleeves to the floor at Rodarte.Kessler StudioNo matter what, Mr. Lanthimos said, “they really make an impression.” Sleeves are inclusive: They can be worn by myriad bodies in myriad ways and exist at myriad prices. They are theatrical. (Forget talking with your hands; talking with your arms is much more effective.) And they can be resonant of sexuality, safety and strength.That makes sleeves the rare design element that is equally showy and swaddling. Simone Rocha, whose balloon sleeves walk a fine line between childlike and sensuous and have become something of a design signature, said she was drawn to the way “the proportion sculpts around the body almost like a cocoon, creating a sense of security.” Also: big, puffy sleeves are old-fashioned and contemporary at the same time, speaking to history and, she said, “the pragmatic feeling of a work-wear bomber.”Whatever the association, however, the result is universal: “In an upside-down world, emphasizing your physicality in space, taking up room, is a way of asserting yourself,” Mr. Roseberry said. “Of giving yourself importance.”Ms. Waddington agreed. “I think that they’re about empowerment,” she said. Which is, in the end, the hero’s journey of “Poor Things,” and the heart of its emotional appeal.“I feel like I’d quite like to wear big sleeves now,” Ms. Waddington said. More

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      A Silent Film Classic Marks Its Centennial

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      “Safety Last!,” the 1923 Harold Lloyd movie best known for the dangerous scene, marks its centennial.It is one of the most enduring images from the silent film era, and arguably the movie stunt that led to the cliffhanging, skyscraper-loving action hero of today: the actor Harold Lloyd dangling from the hands of a clock on the side of an office building.The film, “Safety Last!,” released in April 1923, was in many ways Lloyd’s zenith as a major Hollywood star. He is said to have come up with the idea of dangling from the side of a building after seeing a man scale one in Los Angeles.But Lloyd wanted the stunt to be even more outrageous on film. Enter the clock.“Harold was such a realist, and every scenario in his movies had to be a real event or a real situation for a person to be in,” his granddaughter, Suzanne Lloyd, 71, said during a recent video interview from her Los Angeles home. “The clock was another tool on the side of the building to perpetuate the stunt. He thought, ‘I can really play off of that.’”And play he did. Lloyd’s character, The Boy, thinks up the idea of scaling a department store to win $1,000 offered by its manager to increase business — and hopes the stunt also will help him win The Girl. He begins his ascent, battling a flock of pigeons, a swinging window and a friend named Limpy inside the building who becomes as much of a danger as a helper.As The Boy pauses on a window ledge, a buffoonish moment with Limpy causes him to fall back, saved only by grabbing the clock’s hands, which were conveniently positioned at 2:45 (when the longer minute hand is parallel to the ground).Timely News and Features About Watches Rolex Resales: The watch giant has started its own certified pre-owned program, which many in the industry say will change the secondhand market forever. Casio G-Shock, at Home: A visit to the factory in Japan where most of these chunky and durable watches are made. Is That Watch Cardboard? Using humble materials, a Hong Kong artist makes his own versions of high-end Swiss timepieces to have “a bit more fun.” What Are You Wearing? A new European Union regulation is expected to change the industry’s longstanding culture of secrecy. More on Watches: Stories on trends and issues in the industry.For filming, according to Ms. Lloyd, a safety net was constructed on a roof about one floor below the action, though the scene was shot to look as though there was a sheer drop to the bustling streets far below. (Reports at the time said many in the audience covered their eyes or even fainted, and ambulances were parked outside some movie theaters.)The Boy holds on, even as the clock dial tilts down and he is left hanging from the minute hand. There are a few failed attempts and a lot of slapstick, but, with the help of a rope, he finally makes it to the roof where The Girl is waiting with a kiss.“The 1920s was an era of stunts, from planes to climbing buildings,” said Steven K. Hill, a curator at the UCLA Film & Television Archive in Los Angeles, which has been instrumental in saving and restoring hundreds of silent films, including a collaboration with the Criterion Collection on “Safety Last!” in 2012.“Part of its appeal is that he’s not dressed like a construction worker,” Mr. Hill said. “He wears a straw hat and glasses and is well dressed. It can be seen as an image of his need for upward mobility.”The Boy certainly is in pursuit of money — but for love. “The subplot in all of his movies was always about getting the girl,” Ms. Lloyd said. “Harold was really a romantic lead.”Not only did The Boy get The Girl in “Safety Last!,” but Lloyd and the actress, Mildred Davis, were married shortly before the film was released. They stayed married until her death in 1969; Lloyd died in 1971. The couple had three children (Ms. Lloyd’s mother was Gloria, the eldest).What makes the clock stunt even more impressive, Ms. Lloyd said, is that her grandfather was hanging on with only eight fingers. In 1919 he had lost part of his right index finger, his entire right thumb and part of his palm when he attempted to light a cigarette from the fuse of what he thought was a prop bomb for a publicity photo. But the bomb exploded, temporarily blinding him and putting him in the hospital for about two weeks. For years he wore a prosthetic glove to mask the injury in movies, but not in his personal life.“I remember as a girl that he always wore a Rolex watch, but because he only had three fingers on his right hand, he would have to get someone to buckle the watch on his left hand,” Ms. Lloyd recalled. “Years later, he had a custom-made Rolex that was made of white gold and had a white face with silver numerals. And it didn’t have a clasp. It had a flexible watch band so that he didn’t have to ask anyone to help him.”Harold Lloyd with his granddaughter, Suzanne Lloyd, at Greenacres, the family estate in Beverly Hills, Calif. She said she grew up around clocks thanks to her grandfather. “We had a lot of clocks in our house, including a jade clock in his den,” she said.via Suzanne LloydLloyd’s fondness for clocks was evident to Ms. Lloyd as she grew up at Greenacres, her grandparents’ famous 44-room mansion in Beverly Hills, Calif. It was added to the National Register of Historic Places in 1982 and is now owned by the billionaire financier Ron Burkle (who also purchased Neverland, Michael Jackson’s California estate, in 2020).“We had a lot of clocks in our house, including a jade clock in his den,” she said. “I remember once going watch shopping with him in Montreux, Switzerland, around 1961. He bought me a little blue watch with filigree that I wore on a chain around my neck. He later bought me a Cartier Tank watch when I was 18.”Lloyd’s love of clocks might have been about making sure everything — and everyone — ran on time.“Harold was always punctual, and my mom was constantly late,” Ms. Lloyd said with a laugh. “He bought several watches for her and adjusted the hands, and sometimes changed the time on the clock in her bedroom.”“Harold would always say, ‘Move that clock up in Glo’s room to get her here on time,’” she said. “It worked!” More

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      Jill Biden Shines at the Grammys

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      In silver Oscar de la Renta, the first lady hit the high notes.Jill Biden got the dress code memo.As the first lady walked onstage at the Crypto.com Arena in Los Angeles toward the end of the 65th Grammy Awards — one of the few first ladies in modern memory to present at the show — she did so wearing an off-the-shoulder silver column gown made to sparkle all the way to the nosebleed seats, shining like the gleam of Lizzo’s smile.Actually, shining just like the ruched silver minidress Lizzo herself was wearing (after she changed out of her orange Dolce & Gabbana rose cloak). Not to mention the tinsel-spangled silver Gucci jumpsuit Harry Styles wore to perform his number. Or the silver of Beyoncé’s ruffled Gucci corset gown — the one she wore when she made history as the winningest artist at the Grammys, before she changed into black Schiaparelli and, later, velvet Balmain.Harry Styles in spangled Gucci. Valerie Macon/Agence France-Presse — Getty ImagesEven though Dr. Biden’s dress was by Oscar de la Renta, one of the first lady’s go-to designers, and simply a more eye-catching version of the de la Renta navy lace column she had worn to the state dinner in December (the one with hand-embroidered cutouts), it was an unusual choice, given that she generally hews more to the floral and the understated.But it was also a clever one — like the decision to be part of the Grammys. Michelle Obama appeared, in 2019, but her husband had left office by then; Hillary Clinton won, in 1997, for best spoken word or nonmusical album.More Coverage of the 2023 GrammysWelcoming Rebels: The Grammys need to build bridges between generations. That means convincing once-overlooked upstarts to show up as elders, Jon Caramanica writes.Viola Davis’s EGOT: The actress achieved the rare distinction during the Grammys preshow, becoming the 18th person to have won an Emmy, a Grammy, an Oscar and a Tony.Protest Song: Shervin Hajipour’s “Baraye,” which has become the anthem of the protests in Iran, won in a new special merit category recognizing a song for social change.After all, if you are the soft-power face of an administration whose much-discussed Achilles’ heel is the age of its leader; if you are the partner of a president contemplating running again who was already the oldest person ever to assume the office; if the goal is to get out of establishment Washington and be seen in a different, more … energetic context, the Grammys is not a bad way to do it.Lizzo wore a ruched silver mini. Frazer Harrison/Getty ImagesEspecially a Grammys powered by the combined attention of the BeyHive, Swifties and Harries. Especially one recognizing the legacy of 50 years of hip-hop.Especially one in which Dr. Biden was handing out the first Grammy in the category of song for social change, given to Shervin Hajipour, a young Iranian whose song “Baraye” has become an anthem for the women’s rights protests and a way for those around the world to demonstrate solidarity. (Haider Ackermann used it in his recent couture show for Jean Paul Gaultier.)The first lady also gave Bonnie Raitt her surprise Grammy for song of the year, but it was the award to Mr. Halipour, currently in Iran awaiting trial and charged with disseminating propaganda against the regime and inciting violence, that made the political point. Albeit one couched in the glitz and circumstance of an awards telecast.If an administration wanted to underscore exactly what side it was on, that was a pretty slick way to do so.Machine Gun Kelly in silver foil Dolce & Gabbana with a crystal harness. Kevin Mazur/Getty ImagesThe first lady knew the constituency she was speaking to, and she fit right in. How often do Dr. Biden and Machine Gun Kelly (in a reflective silver foil Dolce & Gabbana suit) look as if they are in the same universe? Being part of the most dominant fashion trend of the night is a very specific form of outreach, the planting of a visual earwig.It’s like the yin to President Biden’s upcoming State of the Union yang; the pop culture version of the political theater scheduled to take place Tuesday, a mere two days after the Grammys, back in D.C. When it comes to curtain-raisers, you don’t get much better than that. And all the silver meant it was impossible to miss. More

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      There Is No Excuse for Ye’s ‘White Lives Matter’ Shirt

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      Not from Ye. And not from his new YZY collection.PARIS — Yeezy is dead. Long live YZY. Stage three of the ambitions of Ye — the artist formerly known as Kanye West — to dress the world has begun.Presumably that was supposed to be the takeaway from the surprise show of Paris Fashion Week, held off-schedule in an empty office tower just down the road from the Arc de Triomphe.Though it turned out to be only nominally a fashion show and more like “The YZY Experience”: a chaotic mess of self-justification, confessional, bone-picking and messianic ambition, with a “White Lives Matter” shot of shock and provocation that overshadowed the clothes on the runway.The rumors began during the weekend, just a day or so before the Balenciaga mud show. Ye was in Paris and was going to stage a fashion show — a little more than two weeks after ending his much-ballyhooed partnership with Gap.Maybe it would happen Monday? Maybe not; Ye had just fired his PR agency. No wait, it was happening; he had found another agency. Then, Sunday night, a digital invite arrived. For the next evening. Guests were asked not to share the address.Monday at 5:45 p.m., the Avenue de la Grande Armée was heaving with screaming fans and photographers. So much for secrecy. They outnumbered the show’s actual attendees by what seemed like 100 to one.Still, Anna Wintour came. So did John Galliano. Demna, the Balenciaga designer, and Cédric Charbit, its chief executive. Alexandre Arnault, the chief marketing officer of Tiffany & Company and a son of the LVMH chieftain Bernard Arnault. Then they all sat, playing with the soap-on-rope that looked like three granite blocks and had been left on every seat, waiting an hour and a half for the show to begin. (Well, OK, Anna and John left before the whole thing ended, but that was because they had another appointment, Ms. Wintour said.)It was as good a reflection as anything this week of just how the culture and power structure of fashion and entertainment has changed in the past decade. Because it was 11 years ago, in early October 2011, that Ye held his first fashion show in Paris.The line at that time was called “Kanye West.” Heavy on the luxury frills — leather and fur and gold hardware — it was widely dismissed by its audience. But this time there they were, the powers that be of the industry, jumping at the last minute to see what Ye had to deliver.Which involved a live choir featuring a host of children from Ye’s new Donda Academy in California as well as his daughter, North, and began with his rambling speech about critics who complained about his shows being late; his former manager, Scooter Braun; his hospitalization (Ye has been diagnosed with bipolar disorder); the pain of being called “crazy”; critics who complained that his clothes might not be well made; the people at Gap who didn’t get his vision; Bernard Arnault, whom he called “his new Drake”; and the news that he was establishing yet another version of his own fashion house and it started now.Because “we changed the look of fashion over the last 10 years. We are the streets. We are the culture.” And when it comes to the culture, “I am Ye, and everyone knows I am the leader.”Except this leader was wearing an oversize shirt with a photo of Pope John Paul II and the words “Seguiremos tu ejemplo” (“We will follow your example”) on the front, and “White Lives Matter” on the back — a phrase that the Anti-Defamation League has called hate speech and attributed to white supremacists (including the Ku Klux Klan), who began using it in 2015 in response to the Black Lives Matter movement.The shirt was impossible to miss because, as he spoke, Ye’s image was projected behind him on a wall four stories high.Besides, Candace Owens, the conservative commentator, was in the audience and wearing one, too. Later the shirt appeared as part of the collection, modeled by Selah Marley, the daughter of Lauryn Hill and granddaughter of Bob Marley. (Matthew M. Williams, the Givenchy designer who worked with Mr. West earlier in his career; Michéle Lamy, Rick Owen’s wife; and Naomi Campbell also walked in the show.)It was the only message garment in the line, which was called SZN9 in reference to the Yeezy shows that had come before, created in conjunction with Shayne Oliver, the former designer of Hood By Air (Ye is nothing if not a great spotter and cultivator of talent). Which made it stand out even more in a show otherwise focused on garments that could simply be pulled onto the body, with no hardware — buttons or zips or snaps — involved, an idea that Ye first began talking about in the context of his work with Gap.As it happened, a lot of this line looked like that line, especially that part of that line engineered with Balenciaga’s Demna, including the full-body catsuits that opened the show, the duvet-like puffer ponchos, the blouson jackets and sweats that made the torso into a sort of steroid-filled G.I. Joe triangle, the lack of seams and the semi-apocalyptic palette.It has potential, but the import got swamped by the shirt, what it symbolized, and how its endorsement by a figure such as Ye — even one with a track record of wearing MAGA hats and toying with Confederate imagery — could be used as a rallying cry by those who already buy into its message.“Indefensible behavior,” wrote Gabriella Karefa-Johnson, the Vogue editor, on Instagram. Later adding, “there is no excuse, there is no art here.” Jaden Smith, in the audience, walked out. So did Lynette Nylander, the Dazed writer and editor.The next day, at the Chanel show, Edward Enninful, the editor of British Vogue and the most powerful Black man in fashion media, called the shirt “inappropriate” and “insensitive, given the state of the world.”Ms. Nylander had posted, “It doesn’t matter what the intention was … it’s perception to the masses out of context.”Indeed, in the end, it is the shirt out of context that made the news: not Ye’s theories about dress, or his allegations that Mr. Arnault promised to set him up in his own house and then reneged and now has become Ye’s biggest competition (an LVMH representative said Mr. Arnault had “no comment”); not even Ye’s assertion that, having disrupted the fashion week spotlight, he still felt “at war.” If so, this was a grenade that backfired.As to why he did it, backstage Ye declined to provide any theoretical framework. “It says it all,” he said, of the shirt. But what exactly does it say?That he truly believes he can appropriate the language of racial violence with irony? That someday the power structure of Black and white will be reversed, and since he says this collection is the future, that’s the world he envisions? That Ye gets a kick out of pushing everyone’s buttons? That he wants to see how far he can go and doesn’t really care about, or think about, the collateral damage in the meantime (including to those children singing at his feet), despite the violence this could feed?Or that, as he said in his speech, “You can’t manage me. This is an unmanageable situation.” More

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      Italian Jewelry Houses Shine on Venice’s Red Carpet

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      Small independents emphasize their strengths at the film festival.Some of the biggest jewelry houses raise their public profiles as major sponsors of film festivals, like Chopard at Cannes, Cartier in Venice, and Bulgari, which is supporting the Toronto festival for the first time in September. But what are the options for small independent jewelers that can’t afford such expensive affiliations?Several Italian brands, including Nardi and Vhernier, have found opportunities on the red carpet at the Venice International Film Festival. The event, scheduled this year from Aug. 31 to Sept. 10, is also called Venice Mostra (in English, Show) and is part of the Venice Biennale art exhibition.“Big brands have monopolized film festivals,” said Alberto Nardi, a third-generation member of his family’s jewelry business. “We cannot compete, so we have to play with our strengths, which are, firstly, that we are here in Venice and, secondly, that we do something original, different.”Last year, for example, Cécile de France, a Belgian actress in the cast of “Illusions Perdues,” wore Nardi earrings to a festival photo call for the movie. The set was made of yellow gold and enamel, accented with turquoises and pink sapphires, and called Maschera (in English, Mask). Its design was inspired by rings decorated with masked faces in enamel that were popular in the 1700s in Venice.The actor Cécile de France wearing Nardi earrings accented with sapphires and turquoises at a photo call for the film “Illusions Perdues.”Yara Nardi/Reuters“We get close to talents we respect and who appreciate us and genuinely enjoy wearing our jewels,” Mr. Nardi said.The Milan-based brand Vhernier takes a similar approach. “We do not have any contracts, and we do not pay anyone. Celebrities who wear Vhernier do so simply because they like it,” Isabella Traglio, the brand’s deputy general manager, said in a video call.The house’s sculptural pieces — such as the rose-colored Verso ear clips worn by the English-French actress Stacy Martin at the festival in 2018, and the white gold Giunco bracelet worn by the Italian actress Matilde Gioli in 2016 — reflect the orientation of the house, which was founded by a sculptor and a goldsmith in 1984.Vhernier has had some big-screen exposure, too: Jane Fonda wore its styles in the 2018 movie “Book Club.” Usually, film producers ask jewelers to pay for such placement, but Ms. Traglio said the opportunity arose thanks to Ms. Fonda, who has often worn the brand, and there was no monetary transaction.The actress Stacy Martin wears Vhernier’s sculptural ear clips at the 75th Annual Venice Film Festival in 2018.Mondadori Portfolio, via Getty Images“We can’t and don’t play the game of big brands that usually go for big celebrities,” Ms. Traglio said. “We lean to emerging talents.”But sometimes such emerging talents can push a brand into the spotlight.“Brands that throw a piece of jewelry on someone will most likely never recover the investment,” Daniel Langer, chief executive of the brand development and strategy company Équité and a professor of luxury strategy at Pepperdine University in Malibu, Calif., wrote in an email. “However, if it is done smartly — if values align and enough content can be created and used on social media — then a single event is amplified into a bigger communication opportunity.”The Milan-based brand Rubeus said that was what happened last year when the house lent its Hexagon earrings and Cabochon ring set with sapphires, emeralds and diamonds to the Italian actress Benedetta Porcaroli for the Venice festival debut of “The Catholic School.”The buzz surrounding the controversial film, inspired by the 1975 kidnapping and murder of two young girls in Italy, attracted attention to the actress, who played a leading role, and to the jewelry on social media, as well as in Italian versions of Vogue and Elle. “Social media are taking the event closer to everyone and potential clients,” Nataliya Bondarenko, the company’s creative director, wrote in an email.As a result, the brand said, interest was revived in its inaugural high jewelry collection, which was introduced in 2019, but had little opportunity to be highlighted during the early days of the pandemic.Rubeus’s presence in Venice during such a prominent occasion also inspired the brand to create a set of fragrances and to continue a series of capsule collections of accessories and clothing begun in 2017 in collaboration with Tessitura Luigi Bevilacqua, a company specializing in fabrics that was founded in the 19th century in Venice.The Italian actress Benedetta Porcaroli at the 2021 Venice festival debut of “The Catholic School.”Claudio Onorati/EPA, via ShutterstockOf course, Venice has been a muse for large luxury houses, too. Last year, for example, Dolce & Gabbana showcased its high jewelry and haute couture collections in the city.And this year, to celebrate a philanthropic donation to restore a pulpit in St. Mark’s Basilica that was damaged by devastating floods in 2019, Pomellato is presenting a collection of rings made in porphyry, which will be available only in its Venice boutique (In 2021, the brand dressed Tiffany Haddish for the film festival’s red carpet.)“Venice is the most magical festival, but it is logistically tough,” the London-based stylist Aimée Croysdill wrote in an email. She has dressed Laura Haddock for Venice, and also has experience with the Oscars, the Cannes Film Festival and the British Academy Film Awards, commonly known as the BAFTAs.“Getting on and off jetties into bobbing boats means you cannot do huge heavy gowns that go on for meters,” she wrote. “That kind of opulence is usually kept for Cannes.”Such logistical difficulties are a boon for some Italian jewelry houses, like Crivelli, that know how to cope with the city’s complexities — and have earned reputations that ensure their creations won’t be replaced at the last minute.“Being close to Venice has allowed us to be present on the red carpet constantly, and this continuous engagement has strengthened our relationships with the talents and their entourage, who know that they can count on us,” Alessia Crivelli, marketing manager of the family business, wrote in an email. The house, known for its gold heart-shaped pendants, was founded by her father in the 1970s in the jewelry-making town of Valenza, between Milan and Turin, and has a flagship store in Milan.For the Venice festival, Crivelli accessorized the Norwegian film director and actress Mona Fastvold in 2020 and 2021, as well as Naomi Watts and Raffey Cassidy in 2018.Crivelli accessorized the Norwegian film director and actress Mona Fastvold for the 78th Venice International Film Festival in 2021.John Phillips/Getty ImagesThe relationship between the festival and small Italian jewelry brands may seem unusual, considering Cartier’s sponsorship role, but the French house appears to be more interested in the festival’s cultural connections than its red carpet opportunities. “Our partnership with La Mostra goes beyond the red carpet,” Arnaud Carrez, Cartier’s chief marketing officer, said in a video interview. He stressed how film is an art form that is close to Cartier, and how the festival provides a culturally rich platform to entertain clients and friends of the jewelry house.Roberto Cicutto, president of the Venice Biennale, echoed the comment in an email: “We are working together not only in terms of communication and hospitality for their guests, but also thinking about content,” referring to the Cartier Glory to the Filmmaker Award, a prize given to someone who is considered to have made a significant contribution to contemporary filmmaking. It was first awarded in 2007, but Cartier began presenting it in 2021.It is not unusual for brands to want to associate themselves with the art of film, Luca Solca, a luxury analyst at the research firm Sanford C. Bernstein, wrote in an email: “Art is seen as a blueprint for personal luxury goods, given its universal language and its disconnect to cost.”But Cartier undoubtedly was pleased last year when Jennifer Lopez appeared at the festival, draped in Cartier diamonds and Ben Affleck. According to an email from Alison Bringé, chief marketing officer of the media analytics company Launchmetrics, Ms. Lopez’s social media post about the visit was worth $2 million in media impact to Cartier.Yet, Mr. Nardi expressed sadness at how marketing machines have overwhelmed the magic of cinema — and of the jewelry world. “I think it debases our products,” he said.“I grew up listening to the stories of Elizabeth Taylor and Grace Kelly coming to Venice and buying jewelry in our store, but that world has now gone.” More