Le fils de Joséphine Baker invité de LCI

Josephine Baker: the world's first Black superstar enters France's Pantheon

Josephine Baker joins French Pantheon of the great

 

Issued on: 30/11/2021 - 08:46

Modified: 30/11/2021 - 08:44

https://www.france24.com/en/live-news/20211130-josephine-baker-joins-french-pantheon-of-the-great

 

Baker's adopted country is honouring her 46 years after her death

 

Paris (AFP) – French-American dancer, singer, actress and rights activist Josephine Baker will become the first black woman to enter France's Pantheon mausoleum of revered historical figures on Tuesday, nearly half a century after her death.

 

Baker will be just the sixth woman to be honoured in the secular temple to the "great men" of the French Republic, which sits on a hill in Paris's Left Bank.

 

She will also be the first entertainer to be immortalised alongside the likes of Victor Hugo, Emile Zola and Marie Curie.

 

The "pantheonisation" of the world's first black female superstar caps years of campaigning by Baker's family and admirers to give her the rare posthumous honour.

 

President Emmanuel Macron granted the request in August to recognise the fact that Baker's "whole life was dedicated to the twin quest for liberty and justice," his office said last week.

 

Baker is buried in Monaco, where her body will remain.

 

During Tuesday's ceremony a coffin containing handfuls of earth from four places where she lived -- the US city of St. Louis where she was born; Paris; the Chateau de Milandes where she lived in southwest France; and Monaco -- will be placed in the tomb reserved for her in the Pantheon's crypt.

 

The coffin will be carried into the building by members of the French air force, commemorating her role in the French Resistance during World War II.

 

- Born into poverty -

 

Macron will deliver a speech and some of Baker's relatives will read short texts written by the trailblazing performer.

 

Baker's name will also soon be added to the name of the Gaite metro station next to the Bobino theatre in southern Paris, where she last appeared on stage a few days before her death in 1975.

 

Born Freda Josephine McDonald into extreme poverty in Missouri in 1906, Baker left school at 13.

 

After two failed marriages -- she took the name Baker from her second husband -- she managed to land herself a place in one of the first all-black musicals on Broadway in 1921.

 

Like many black American artists at the time, she moved to France to escape racial segregation back home.

 

One of the defining moments of her career came when she danced the Charleston at the Folies Bergere cabaret hall wearing only a string of pearls and a skirt made of rubber bananas, in a sensational send-up of colonial fantasies about black women.

 

'France made me'

The performance marked the start of a long love affair between France and the free-spirited style icon, who took French nationality in 1937.

 

At the outbreak of World War II, she joined the Resistance against Nazi Germany, becoming a lieutenant in the French air force's female auxiliary corps.

 

She also became a spy for France's wartime leader-in-exile General Charles de Gaulle, obtaining information on Italian leader Benito Mussolini and sending reports to London hidden in her music sheets in invisible ink.

 

"France made me who I am," she said later. "Parisians gave me everything... I am prepared to give them my life."

 

She also waged a fight against discrimination, adopting 12 children from different ethnic backgrounds to form a "rainbow" family at her chateau in the Dordogne region.

 

She died on April 12, 1975, aged 68, from a brain haemorrhage, days after a final smash-hit cabaret show in Paris celebrating her half-century on the stage.

 

She is the second woman to be entered by Macron into the Pantheon, after former minister Simone Veil, who survived the Holocaust to fight for abortion rights and European unity.

 

In a sign of the universal affection in which Baker is still held in France, there was no public criticism of the decision to honour her, including from far-right commentators that are generally scathing of anti-racism gestures.

The Pop Society / The Eton Society

 ABOUT ETON, SEE ALSO:

https://tweedlandthegentlemansclub.blogspot.com/2019/08/about-eton-by-adam-nicolson-eric.html

 

https://tweedlandthegentlemansclub.blogspot.com/2019/07/the-modern-eton-college.html

 

https://tweedlandthegentlemansclub.blogspot.com/2019/08/a-clique-of-pseudo-adults-britains.html

 

https://tweedlandthegentlemansclub.blogspot.com/2019/07/abolish-eton-labour-groups-aim-to-strip.html

 

https://tweedlandthegentlemansclub.blogspot.com/2017/03/sunday-images-thirty-years-on-private.html

 

https://tweedlandthegentlemansclub.blogspot.com/2019/12/the-old-boys-decline-and-rise-of-public.html

 

 

The History of Pop Society

https://www.newandlingwood.com/the-editorial/post/eton-pop-waistcoats

 

Photo by Rhubarb & Custard

Pop, more properly known as The Eton society and reserved for elite prefects, has been known to include the most charming and popular students, with such members as Prince William, Boris Johnson and Eddie Redmayne in their ranks.

 

Founded in 1811 as a debating society, Pop originally went by the name “Popina”, from the Latin “Cook Shop” which is where the boys used to meet. In its prime, it was the ultimate networking tool and could open the most incredible doors. Over the years its power and privileges have grown.

 

Historically, Pop was predominantly filled with athletes rather than intellectuals, their justification being that you had to stand out through your leadership qualities.

 

The rules were altered in 1987 and again in 2005 so that the new intake are not elected solely by the existing year and a committee of masters. Members of Pop are entitled to wear checked spongebag trousers and a waistcoat of their own design, which means football shirts, team crests, national flags, fluorescent colours, Hermes scarves and even sequins are not uncommon. As one former member of Pop put it "your mother's old evening gown, or a bit of old curtain"

 

POP

Historically, only members of Pop were entitled to furl their umbrellas or sit on the wall on the Long Walk, in front of the main building. However, this tradition has died out. They perform roles at many of the routine events of the school year, including school plays, parents' evenings and other official events. Pop: officially known as 'Eton Society', a highly glamorous high-status elite society comprising the most popular, well-regarded, confident and able senior boys. It is thus truly an elite within an elite. It is a driving ambition of many capable Eton schoolboys to be elected to Pop, and many high-performers who are refused entry to this elite consider their careers at Eton a failure. Boris Johnson was a member of Pop, whilst David Cameron (unlike his elder brother Alexander) failed to be elected, a fact which possibly fed their later political rivalry. Over the years its power and privileges have grown. Pop is the oldest self-electing society at Eton. The rules were altered in 1987 and again in 2005 so that the new intake are not elected solely by the existing year and a committee of masters. Members of Pop wear white and black houndstooth-checked trousers, a starched stick-up collar and white bow-tie, and are entitled to wear flamboyant waistcoats, often of their own design. Historically, only members of Pop were entitled to furl their umbrellas or sit on the wall on the Long Walk, in front of the main building. However, this tradition has died out. They perform roles at many of the routine events of the school year, including School Plays, parents' evenings and other official events, and generally maintain order. Notable ex-members of Pop include Prince William, Duke of Cambridge (unlike his younger brother Prince Harry, who failed to be elected); Eddie Redmayne; and Boris Johnson.

 

A very exclusive club called pop

 

ETON is the most elite school in Britain – and its sixth form society is even more selective...

 

By BILL COLES

00:00, Thu, Mar 17, 2011

https://www.express.co.uk/expressyourself/235077/A-very-exclusive-club-called-pop

 

Members of Pop are permitted to wear any waistcoat they please

 

They are, without a shadow of a doubt, the world’s gaudiest prefects – and when I was a callow 17-year-old it was one of my very slight regrets that I was never elected a member of Eton College’s most prestigious club. The Eton Society – or Pop as it’s known – this year celebrates its 200th anniversary and though Prince William and his uncle Earl Spencer will both have been invited to the £250-a-head party in its honour, I will sadly not be among their number.

 

As ever, it seems as if all the rankand- file Etonians have been left out on the street, peering in through the windows to catch a glimpse of our old prefects making merry round the fireside. At first glance Pop looks like nothing more than a very posh sixth form club. But Eton (with fees of £30,000 a year) is still regarded by many as the top elite school in the country – one that has provided 19 prime ministers (not least our current one) as well as old boys ranging from George Orwell and James Bond author Ian Fleming to Boris Johnson and Hugh Fearnley-Whittingstall. And if Eton is an educational elite then Pop is an even smaller elite within it – one that elects its own members, who form not just an exclusive network but one that doesn’t always admit the members you might expect.

 

 Mr Cameron, for instance, was not a Popper – so at least I’m in good company. Not that I’d ever have wanted to join the clubbable chaps in Pop; I was far too obstreperous and cheeky for that. But their uniform, on the other hand… well they looked like peacocks strutting among a horde of black crows and to a stripling teenager it all seemed rather exotic. Here, in full, was the uniform of an Eton Popper: a black tailcoat with braid piping; spongebag trousers in a houndstooth check; and a starched wing collar with a white (hand-tied) bow tie.

 

The uniform would usually be capped off with a thick cow-lick of hair, spit-polished black lace-ups pickers), plus a gardenia or a rose in the button-hole. While the rest of us schoolboys had been shoe-horned into grubby black waistcoats the Poppers were allowed to wear any waistcoat they pleased. least a dozen and you can only imagine the glorious oneupmanship that was involved.

 

I remember waistcoats of green leather, waistcoats spangled with Pearly King buttons, and even a hideous fur electric pink number. Prince William, when he was a Popper, tended towards the staid and I believe his most daring outfit was a patriotic Union Jack. To all intents and purposes the Poppers don exactly the same sort of clothes that the gentlemen will be wearing at next month’s royal wedding – though having been in tails for at least four years a Popper can carry off the look with much more ease than the chaps who’ve hired their kit from Moss Bros.

 

Once you realise the sheer showiness of the Pop uniform it is all too easy to understand how David Cameron came to be quite so enamoured with the Bullingdon Club at Oxford. For, if he had been elected into Pop he might never had quite such an urge to dress like a foppish Bullingdon blue-blood (though London Mayor Boris Johnson was in both Pop and the Bullingdon Club). Within Eton, Pop was a self-electing club for the sports stars, which certainly did not include me, and the hearty good guys. There were about25 of them and they were charged with keeping the 1,300 other boys for such misdemeanours as not being properly dressed, or even “socking” (eating) in the street.

 

I still recall how, when I was 13, an enormous Popper accosted me in the street for not wearing any cuff links. “Have a pound in my room by lock‑up,” he told me. Ostensibly all this loot went to charity, though doubtless the Poppers were just using it for extra beer money at the school pub, Tap. Speaking to contemporaries who were members, one is struck by the fact that while Pop is exclusive it does not necessarily bother itself with the most opulent surroundings. “The Poppers had one room which was quite fusty but it did have a huge television,” said one.

 

“It was a bit like a St James’s club in that boys were put up for election but if there was a single blackball against them then they weren’t in. Things have changed more recently and now the Eton masters have a right of veto. You probably don’t get quite so many bad eggs. “When a boy got elected into Pop we’d all charge round to his house making a lot of noise. His room might be trashed and he’d usually end up in the bath covered in beans, spaghetti, eggs and whatever else we could find in his locker.

 

Pop was predominantly filled with sports buffs and swells and that’s still pretty accurate to this day. It appeals to people who like to dress up as a peacock.” Pop was founded in 1811 and it was originally a debating society and had the name “Popina”, from the Latin for “Tea-Shop” which is where the boys used to meet. In its heyday Pop was the ultimate networking tool and could open the most incredible doors. One can even see Pop’s shadow hanging over Prime Minister Harold Macmillan when he culled half his cabinet during “The Night of the Long Knives” in the late Fifties.

 

It’s said that Macmillan sacked half his friends from Pop – only to replace them with the other half. Fagging at Eton is now a distant memory but in my time in the Eighties a Popper could fag off any boy on the street, sending him off to do any chore he pleased. I still remember my outrage when a Popper took offence at my smirking face and sent me to Windsor to buy him a postcard for his mother. Another extraordinary aspect of the society was that 50 years ago Poppers were empowered to deliver a “Pop tan” – where reprobate boys would be flogged by every member of Pop.

 

 One of the more famous recipients of such a beating was the late tycoon Sir James Goldsmith. I was told: “Even when he was quite young Jimmy Goldsmith was very precocious. He’d think nothing of going up to London to place bets on races and often he’d place bets for other boys too. Word got out that he’d been welching on the junior boys and he was given a Pop tan. I know – because my father was one of the Poppers who caned him.”

 

He added: “One of the strangethings about Pop is that it never goes away. You find it cropping up in a lot of Etonians’ obituaries. These are people who may well have won VCs or who are captains of industry – and yet for some reason the fact that they were a member of Pop is seen to be on a par with anything else that they’ve done.” It will be interesting to see who turns out for Pop’s 200th anniversary this summer. It’s being held at Fellows’ Eyot, a field next to the Thames – though at £250 a head I hope they’ll be drinking the very best of the college wine cellar.

 

There’s no chance of an invite for me though I have been invited to talk to Eton’s Literary Society next week. I’ll be having dinner with some enthused boys and also my favourite master (still there 30 years later)! There won’t be a Popper in sight. And I know which dinner I’d rather attend.

 

Bill Coles was at Eton from 1978 to 1982. He was in the same year as Boris Johnson, Earl Spencer, fraudster Darius Guppy and Thai Prime Minister Mark Vejjajiva.

BARBOUR COWEN COMMANDO WAX JACKET

 

The Cowen Commando Jacket has been developed from an original wartime design customised by Barbour on behalf of one if its favourite British Army customers. The original was returned many times to Barbour’s Customer Services department for re-waxing, adaptations and numerous pocket additions, and saw service in the Falklands and the Gulf before being retired to the Barbour archives. It was then that its potential for Civvies Street was spotted. In medium weight wax, with re-enforced shoulder pads and many pockets this contemporary wax jacket is finished with the ultimate badge of pride, the Union Jack.

EDITORIAL

BARBOUR COWEN COMMANDO WAX JACKET

24.12.14

https://www.xileclothing.com/blog/article-60-barbour-cowen-commando-wax-jacket.html

 

As a quintessentially British label created with the outdoors in mind, Barbour jackets have a long history of being worn by the armed forces. The brand’s military heritage forms the basis for the brand new “Commando” collection which takes its name from the iconic Cowen Commando jacket that has been a mainstay of the Barbour collection since the 1990’s.

 

The Cowen Commando returns in its classic military waxed style – featuring shoulder epaulettes and camo features throughout. The jacket has been slimmed down for SS ’15 and also features the new collection branding throughout. This promises to be a must have style for the coming season – combining Barbour’s classic sage colourway with a vibrant camo detailing throughout.

 

Although the jacket was released as part of Barbour’s collection in the 90’s – it was first created for the military during the Second World War; the exact details of this story are hush hush however many have suggested it was created on the orders of Walter “Tich” Cowan, who served in both the first and second world wars and singlehandedly took on an Italian tank crew aged 70!

 

Whatever the source of this style, there’s no doubt that it is here to stay. Look out for the new Commando collection arriving very soon – all pieces pay homage to their British roots and feature a tonal Union Jack badge as well as the classic Barbour branding.

The Men's Fashion Book

The Men's Fashion Book:

Phaidon Editors with an Introduction by Jacob Gallagher

 

About the book

‘Is this the chicest coffee-table book ever printed? Quite possibly.’ – Financial Times, How To Spend It

https://www.phaidon.com/store/fashion-culture/the-men-s-fashion-book-9781838662479/

 

The first-ever authoritative A–Z celebration of the 500 greatest names in men’s fashion – 200 years of men’s style through the work of designers, brands, photographers, icons, models, retailers, tailors, and stylists around the globe

 

The Men's Fashion Book is an unparalleled A–Z deep-dive into the people and brands that have produced and inspired the most memorable looks in menswear – and are advancing today’s renaissance in men’s clothing and style.

 

Created in collaboration with Jacob Gallagher, men’s fashion editor at Off Duty for the Wall Street Journal, this stunning book with its striking cover design and red and black marker ribbons, documents more than two centuries of men’s fashion, bringing its history to life through iconic, inspirational images, from traditional suits to streetwear, and beyond.

 

Inside this ground-breaking book you’ll find approximately 130 designers, 100 brands, 70 icons, 40 photographers, 40 footwear and accessory designers, 30 retailers, 25 stylists, editors, and writers, 20 tailors, 15 publications, 15 models, and 10 illustrators, as well as art directors, influencers, milliners, and textile designers. Arranged alphabetically, the 500 entries spotlight living legends such as Giorgio Armani and Paul Smith alongside today’s most innovative creatives, including Ozwald Boateng, Alessandro Michele, Kim Jones, and Virgil Abloh, and cutting-edge brands such as Bode, Sacai, and Supreme.

 

Following in the footsteps of Phaidon’s globally acclaimed and bestselling The Fashion Book, this is the most comprehensive guide to the men’s fashion world ever published.

 

"SPENCER" (2021) Costume Analysis and Capsule Review

How do Kristen Stewart’s Chanel ensembles in Spencer compare to Diana, Princess of Wales’s real life wardrobe?

 

Tatler investigates the fashion behind the film

By Chandler Tregaskes

17 November 2021

https://www.tatler.com/gallery/kristen-stewart-diana-princess-of-wales-spencer-style

 

There are many similarities between Kristen Stewart and Diana, Princess of Wales. They’re both breathtaking beauties with a penchant for short blonde hair, they share pioneering attitudes towards fashion, and most importantly, they’re both Chanel girls.

 

Diana often opted for ultra-chic skirt sets from the French luxury house in pastels and bouclé accompanied by her trusted quilted 2.55 bag. Stewart is the current poster girl, wearing an impeccable exclusively Chanel wardrobe for the worldwide press tour. It comes as no surprise then that costume designer Jacqueline Durran would collaborate with the house for Stewart’s on-screen portrayal too.

 

Given access to the extensive archives of the historic house, Durran was able to recreate the same glamour that Diana breathed effortlessly. Focusing on photos between 1988 and 1992 for inspiration, Durran called on Chanel’s bold shoulders, oversized lapels and gold buttons from the era to resurrect the unparalleled chic of the late princess.

 

Unlike how The Crown only admitted it was fictional after backlash from Buckingham Palace, Spencer was clear that it was a fictional reimagining from the outset. This allows for some creative license when styling K-Stew, however, any portrayal of the People’s Princess is destined to be picked apart from sovereign style sleuths and historical accuracy hounds looking for any slip up to pounce on.

 

Despite this, the wardrobe in the new film is divine. Positively brimming with vintage Chanel, any fashion fan will rejoice in the delectable designs of yesteryear. See below Kristen Stewart's Diana portrayals, and their original counterparts. The jury is out.

 

The Beatles: Get Back - A Sneak Peek from Peter Jackson

The Beatles: Get Back

The Beatles: Get Back is an upcoming three-part documentary series directed and produced by Peter Jackson. It covers the making of the Beatles' 1970 album Let It Be, which had the working title of Get Back, and draws from material originally captured for Michael Lindsay-Hogg's 1970 documentary of the album. Conceived originally as a feature film, each episode of The Beatles: Get Back is about two hours in length, making up a total of six hours.

 

Jackson characterised The Beatles: Get Back as "a documentary about a documentary". Commentators have described it as challenging longtime beliefs that the making of Let It Be was marked entirely by tensions between the Beatles, showing a more upbeat side of the production. It will premiere on Disney+ consecutively on 25, 26 and 27 November 2021.

 

Production of The Beatles: Get Back employed film restoration techniques developed for Jackson's They Shall Not Grow Old. Over 55 hours of footage and 140 hours of audio stemming from the original Let It Be film project were made available to Jackson's team. In reference to the long-reported acrimony surrounding the original Get Back project, Jackson wrote in a press statement that he was "relieved to discover the reality is very different to the myth ... Sure, there's moments of drama – but none of the discord this project has long been associated with."

 

Jackson spent around four years in a darkened suite editing the series. It was created with cooperation from Paul McCartney, Ringo Starr and the widows of John Lennon (Yoko Ono) and George Harrison (Olivia Harrison), as well as music supervisor Giles Martin (son of George Martin and a regular producer of Beatles projects since 2006). In a news release, McCartney said: "I am really happy that Peter has delved into our archives to make a film that shows the truth about the Beatles recording together", while Starr echoed: "There was hours and hours of us just laughing and playing music, not at all like the Let It Be film that came out [in 1970]. There was a lot of joy and I think Peter will show that."

 

The final cut covers 21 days in the studio with the Beatles as they rehearse for a forthcoming album, concert and film project, and climaxes with the full 42-minute rooftop concert. Jackson described the series as "a documentary about a documentary", as well as a "tougher" one than Let It Be, since it includes controversial events such as Harrison's brief resignation from the band, which the original film had not covered. With the exception of specific shots where no alternative exists, most of the material that had been featured in Let It Be was not reused in Get Back, and the series primarily used footage captured from alternative camera angles in the case of sequences shared between the two works. According to Jackson, this choice was made out of a desire to "not step on Let It Be's toes so that it is still a film that has a reason to exist, and our [series] will be a supplement to it".

 

Filmmakers convinced Disney+ to allow for swearing to be included in the documentary series. According to Jackson: "The Beatles are scouse boys and they freely swear but not in an aggressive or sexual way."

 

Release

The project was announced on 30 January 2019, the fiftieth anniversary of the Beatles' rooftop concert. On 11 March 2020, The Walt Disney Studios announced they had acquired the worldwide distribution rights to Jackson's documentary, now titled The Beatles: Get Back. It was initially set to be released as a film by Walt Disney Studios Motion Pictures on 4 September 2020 in the United States and Canada, with a global release to follow.[14] On 12 June 2020, it was pushed back to 27 August 2021 due to the COVID-19 pandemic.

 

On 17 June 2021, it was announced that The Beatles: Get Back would instead be released as a three-part documentary series on Disney+ on the Thanksgiving weekend of 25, 26 and 27 November 2021, with each episode being about two hours in length. On 16 November 2021, Paul McCartney attended the UK premiere of The Beatles: Get Back.

 

Marketing

On 21 December 2020, a five-minute preview montage from the reproduced film, presented by Jackson, was released on YouTube and Disney+.The video features the band members dancing, doing impersonations, laughing, Lennon reading a newspaper article about Harrison's encounter with a photographer, as well as Lennon and McCartney "jokingly singing 'Two of Us' through gritted teeth". A one-minute clip of the film was released on YouTube on 12 November, containing a scene with the Beatles working on the song "I've Got a Feeling".

 

The release was preceded by the publication of a book of the same name – the first official book credited to the band since The Beatles Anthology (2000) – featuring an introduction by Hanif Kureishi. The book was initially scheduled for 31 August 2021 to coincide with the initial August release of the documentary, but was ultimately released on 12 October, ahead of the documentary.The documentary was also preceded by the release of a remixed, deluxe edition box set of the Let It Be album on October 15 by Apple Records.

Inside the story of the Beatles documentary “Get Back”

Autumn Fall 2021/ JEEVES ( António Sérgio Rosa de Carvalho ) in his little tiny conservatory. Greetings.

 

The Crown Season 5 | First Look at Princess Diana

FALL/WINTER 2021 / TODD SNYDER COLLABORATION WITH J. PRESS .

Todd Snyder’s New Collaboration Is with Preppy Powerhouse J. Press Chris Rovzar 11:03 PM IST, 08 Nov 2021 11:19 PM IST, 08 Nov 2021 Save (Bloomberg) -- Fresh off the second collection he created in partnership with L.L. Bean, menswear designer Todd Snyder is doing another take on America’s preppy heritage. Catalogs that feature a new collaboration with tailoring emporium J. Press will hit mailb

 

Read more at: https://www.bloombergquint.com/pursuits/todd-snyder-j-press-collaboration-follows-l-l-bean-champion

 

Copyright © BloombergQuint

 

FALL/WINTER 2021

TODD SNYDER EMBRACES CLASSIC COLLEGIATE STYLE WITH J. PRESS COLLABORATION

PUBLISHED ON NOVEMBER 16, 2021

https://www.thefashionisto.com/collection/jpress-todd-snyder-fall-2021-menswear/

 

It may be time to survey your wardrobe and make room for new additions! Todd Snyder serves up another collection of irresistible classics for fall. This time around, the designer partners with J. Press.

 

Snyder offers J. Press a modern platform to appreciate its time-tested designs. Founded in 1902 by Jacobi Press, J. Press came to fruition on Yale University’s Connecticut campus. Since its founding, J. Press has served as a standard-bearer for Ivy League fashion.

 

The Sack Suit, the Boxy Chino, and the Shaggy Dog sweater, a Shetland design beloved by President John F. Kennedy and actor Cary Grant, were all pioneered by the company. To give these college essentials a contemporary spin, J. Press requested Todd Snyder partner with them.

 

“J. Press has always been a little under the radar, which makes them cool,” says Snyder. “So we took some of their iconic pieces and gave them a little attitude.” The designer adds, “And we took some of our styles like our chore coat and J. Press-ified them in Harris Tweed.”

 

 

'It's bad enough at 73': Charles jokes as he assures the Queen is 'alright' | ITV News

Downton Abbey: A New Era - Official Trailer

Downton Abbey: A New Era Trailer: The Crawleys Summer in the South of France

A trailer for the highly-anticipated sequel takes the Crawleys out of the U.K. and sends them on a very French holiday.

 

BY CHRIS MURPHY

NOVEMBER 15, 2021

https://www.vanityfair.com/hollywood/2021/11/downton-abbey-a-new-era-trailer-the-crawleys-summer-in-the-south-of-france?utm_brand=vf&utm_social-type=owned&utm_source=facebook&utm_medium=social&mbid=social_facebook&fbclid=IwAR2u4wKJvW-6NzM7xExHiAHiDDfwQU0kUcjpYRVAqy_SFd4Dpna1vy2CJYM

 

The British are coming. At long last, Focus Features has released a trailer Downton Abbey: A New Era, which sees the beloved Crawley family on a European vacation.

 

A follow up to 2019’s Downton Abbey film, which saw the Crawley family and Downton staff hosting the king and queen of England, Downton Abbey: A New Era sees Dame Maggie Smith’s Dowager Countess reveal a secret to her family about her past. “Years ago before you were born, I met a man, and now I’ve come into possession of a villa in the South of France,” she says quite casually. The trailer then sees the family whisked away on the “grandest escape of the year” as they go on a gorgeous French holiday.

 

“And with that I will say good night,” the Dowager Countess says at one point during a soiree, “and leave you to discuss my mysterious past.” Does this mysterious past include another secret villa? Knowing the Dowager Countess and her liaisons, it’s more likely than you’d think.

 

Downton Abbey: A New Era will see Smith reunited with her former cast mates Michelle Dockery, Imelda Staunton, Hugh Bonneville, Elizabeth McGovern, Laura Carmichael, Jim Carter, and the entire original principal cast of BBC’s Downton Abbey series. They’ll be joined by newcomers to the abbey Hugh Dancy, Laura Haddock, Nathalie Baye, Dominic West, and Jonathan Zaccaï. Initially intended to arrive Christmas of 2021, Downton Abbey: A New Era will waltz its way into theaters on March 18, 2022. 

The truth behind fast fashion - Are fashion retailers honest with their customers? | DW Documentary

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Stella McCartney Shows Charles Sustainable Fashion

COP26: Is fungi the future of fashion?

Tom Ford 002 by Tom Ford

 

Tom Ford 002

Author Tom Ford, Text by Bridget Foley

https://www.rizzoliusa.com/book/9780847864379

 

A fashion icon, provocative American designer Tom Ford brings us his highly anticipated second book, which takes readers through the illustrious trajectory of his billion-dollar luxury empire established in 2005.

 

Synonymous with high-octane glamour, opulent sexuality, and fearless fashion, Tom Ford is an iconic designer whose namesake label has devout followers across the globe, from Milan and New Delhi to Shanghai and New York. Seventeen years after his best-selling debut book Tom Ford (2004), which detailed his time as creative director for the Italian label Gucci, this second volume is a visual ode to Ford’s eponymous brand created in 2005 and encompasses cosmetics, eyewear, menswear, and his critically acclaimed womenswear line.

 

The revered designer not only catapulted his brand to the highest echelons of the fashion world—receiving accolades from the Council of Fashion Designers of America and Time magazine’s Best Designer of the Year—but also commanded the attention of Hollywood by featuring loyal A-list fans such as Julianne Moore, Lauren Hutton, Pat Cleveland, and Nicholas Hoult in his runway shows and advertising campaigns. This gorgeous slipcased volume includes dazzling imagery of Ford’s clothing and accessories designs, fashion editorials featuring top models such as Gigi Hadid, Joan Smalls, Mica Argañaraz, and Jon Kortajarena, and his signature sexually-charged advertising campaigns by photographers such as Inez & Vinoodh, Nick Knight, Steven Meisel, and Mert & Marcus.

 

This volume, printed with Forest Stewardship Council approved materials and edited by Ford personally, reflects his exceptional taste and unapologetic sensual aesthetic and is a true collector’s item for his devotees and connoisseurs of fashion, style, and design.

 

About The Author

Tom Ford is a celebrated American designer, creative director of his namesake fashion empire, and acclaimed filmmaker. Bridget Foley is executive editor of Women’s Wear Daily (WWD).

 

Interview

Tom Ford: ‘I paid $90,000 for my own dress. The clothes we make are not meant to be thrown away’

Karen Dacre

https://www.theguardian.com/fashion/2021/nov/10/tom-ford-i-paid-90000-for-my-own-dress-the-clothes-we-make-are-not-meant-to-be-thrown-away

 

From fashion with va-va-voom to veganism – ahead of the release of his new book, America’s starriest designer takes a moment to reflect

 

Tom Ford

Tom Ford, a self-confessed ‘hyper Virgo’. Photograph: David Bailey

Wed 10 Nov 2021 08.00 GMT

 

Tom Ford answers my phone call in precisely the way I’d hoped he would: with a voice as smooth as butter and the grace of Cary Grant.

 

We are in touch to discuss his latest project, a coffee-table book charting the past 15 years of his career – or “post-Gucci”, as those familiar with luxury fashion prefer to describe the era that has followed Ford’s departure from the Italian super brand.

 

Tom Ford 002, which spans 444 pages, includes imagery by photographers such as Mert and Marcus and Inez & Vinoodh and a foreword by Anna Wintour. The list of celebrities featured reads like the lineup of one of Ford’s fashion show front rows with Drake, Rihanna, and Jennifer Lopez among the headliners.

 

But first, the gentleman prefers small talk. “You’re in London? How wonderful. I miss it,” he says of the city he used to call home.

 

Texan-born Ford speaks to me from Beverly Hills, where he has lived since decamping from the UK in 2019. It is lunchtime where he is, and the sun is shining. “I do a lot of Zooms, but it’s good to talk like this. It means I didn’t have to get up and take a shower beforehand,” he says. It’s reassuring to discover that the man credited with reinventing sex appeal is enjoying a duvet day of sorts.

 

Laid back is not a phrase commonly associated with Ford. As a designer, he remains fiercely loyal to the breed of high-octane glamour he used to transform Gucci into a billion-dollar business. His brand, which spans womenswear, menswear and cosmetics, is a status symbol for the super-rich. Its scintillating ad campaigns, instantly recognisable as Ford’s, are an extension of his aesthetic.

 

A self-confessed “hyper Virgo”, Ford has an unforgiving eye for everything from floral displays (single-stem bunches only) to the length of a shirt cuff. He is also fashion’s starriest designer. Catwalk shows for the eponymous label he launched in 2004 attract a guest list to rival the Oscars. Julianne Moore and Rihanna are regulars. In 2013, Jay-Z named a song in his honour.

 

Ford is at ease among Hollywood’s top tier because he is in it. After parting ways with the Gucci group, he switched from fashion to film set. Ford’s movies – A Single Man (2009) and Nocturnal Animals (2019) – were nominated for Academy Awards. Both are beautiful to watch.

 

At home, where he lives with his nine-year-old son Jack, Ford’s life has been upended. Richard Buckley, his partner of 35 years and Jack’s other parent, died in August. It seems poignant that Ford’s new book, the result of much reflection, should appear on shelves when he is processing such loss. “When Richard saw the book, he said: ‘That’s a lot of water under the bridge’ and turned and left the room,” Ford says.

 

A photograph of Jack is among Ford’s favourite additions to the book. “It is the only shot I have ever released of him publicly. He was five when it was taken, so no one would recognise him from it,” he says.

 

A candid Q&A with Women’s Wear Daily’s Bridget Foley is also featured. In it, Ford discusses everything from exiting Gucci to being part of the only gay couple at the golf club and describes his son as his “number one focus”.

 

The designer also highlights the potency of good taste in the Buckley Ford family’s genes. “One time when he was five, somebody at school asked what was the worst thing you could think of. Jack said: “Brown shoes with a black belt.”

 

Work on the book meant that Ford spent lockdown sifting through thousands of images. “It was an interesting thing to spend so much time looking back,” he tells me, “it is not something I do often.”

 

His reluctance to take stock is a hangover from his days at Gucci, when there was no time to pause for reflection, a period that led to burnout, and he had what he has called a “mid-life crisis”. “It’s hard to look back when you’re constantly expected to produce,” he says. “I remember having dinner with Karl Lagerfeld and him telling me that I’d only understand how well things were going in the future once I had the chance to go back.”

 

Undoubtedly, this time of contemplation has enabled Ford to recognise how much things have evolved. He cites an “obsession with political correctness” as a drawback for this generation of fashion designers. “Cancel culture inhibits design because rather than feeling free, the tendency is to start locked into a set of rules. Everything is now considered appropriation. We used to be able to celebrate other cultures. Now you can’t do that.”

 

Ford, the elected chair of the Council of Fashion Designers of America and perhaps, the world’s chicest environmentalist, welcomes the call for the luxury world to lessen its impact on the planet. He started by doing his bit at home. “I switched to aluminium straws, got rid of single-use plastic,” he says. In 2017, Ford announced he was a vegan. “I really don’t need to meat,” he says, and credits the Netflix documentary What the Health for inspiring the change in diet.

 

He is applying the same mindset to his business – Ford’s label turns over $2bn (£1.48bn) a year, while Tom Ford Beauty turns over $1bn – paying attention to details such as packaging and workers’ rights. “People are well looked after,” he says.

 

In Ford’s mind, true luxury fashion is sustainable by its nature. He tells me that he recently paid $90,000 for a dress he designed during his tenure at Yves Saint Laurent to add to his archive. “The clothes we make are not meant to be thrown away,” he says.

 

Ford seems to be fascinated and repulsed by the digitalisation of fashion.

 

“The future of fashion is increasingly cartoonish,” he says. “Instagram has broken down the rules. People dress up to take pictures of themselves to post online, everything is exaggerated – especially the eyebrows.”

 

He recently watched Fake Famous, the HBO documentary about influencers, and found the revelation that Instagram users were using toilet seats to give the illusion of being on a plane “completely hysterical”.

 

Can we expect to see an airport selfie of him soon? “Never!” he says. “I’m very private.”

 

You can count on Ford to keep it classy.

 

 Tom Ford 002, by Tom Ford, is published by Rizzoli (£95).