Affordable Slides That Have Just Enough Whimsy

I’ve been finding simple joy in being able to get dressed each day and, as a result, I’m looking for clothes that strengthen that drive. An accessory refresh is a great way to update an otherwise uninspired outfit. These whimsical, happy shoes from Tabitha Simmons fit the bill perfectly. These woven slides are well-made, sturdy, and at just over $100, they’re an affordable option from a luxury brand.

These easy slides are just enough to be a balanced transition from quarantine hibernation to real life—and to look good while doing it. The thought of wearing them to a socially-distanced al fresco dinner brings me so much happiness. They bring brightness to a simple, casual denim look as much as they do a breezy summer dress and fit seamlessly into the casual, elegant aesthetic I try to achieve in warm weather months. Even if I am just on Zoom, it is amazing what the power of feeling out together can do.

As an added bonus, I’ve found these through the Vogue x Amazon: Common Threads shop which supports younger designers whose businesses have struggled throughout the pandemic. I’ve found that now more than ever, I want to be thoughtful about the way I shop and consume. To me, that includes supporting independent designers whose vision I love, like Tabitha. Ultimately, these easy slides are the kind of shoe I look forward to wearing summer after summer.

Saint Laurent Steps Off Schedule for Its 2020 Fashion Shows

The novel coronavirus, its related lockdowns, and the cancellation of major fashion weeks in June and July has the fashion industry to intensely questioning its status quo. Saint Laurent is the latest brand to try something new: Today the Parisian house announced that it would move off schedule for the remainder of 2020. While Paris’s menswear fashion week was already canceled in June, many have assumed that fashion weeks could resume, in some form, in September. If they do, Saint Laurent won’t be there. In a release, the brand noted, “Saint Laurent will take ownership of its calendar and launch its collections following a plan conceived with an up-to-date perspective, driven by creativity.”

Speaking to WWD, artistic director Anthony Vaccarello and chief executive officer Francesca Bellettini painted a picture of physical-digital hybrid shows that would operate outside of the traditional bounds of the fashion calendar. “This season, I want to present a collection when I am ready to show it,” Vaccarello said in an interview. The pair stressed the importance of brand building and slow fashion, suggesting smaller aesthetic shifts between seasonal collections and a stronger core product offering. “It’s not a complete change season after season. Everything is intended to be mixed with previous seasons. It’s always about the attitude of the same woman or man. In the show, you can really see what’s from last season. More image pieces will always be there, as it’s not the time to be boring. It’s time for even more creativity,” the designer continued.

Saint Laurent is the first major label to officially leave the traditional fashion calendar as a result of the coronavirus pandemic. In Milan, men’s fashion week has been pushed to September, to coincide with women’s, with all the usual headliners expected to participate. Ditto for Paris Fashion Week, which put its menswear and couture weeks on pause, but is expected to make a digital-facing announcement soon. London Fashion Week, meanwhile, has gone all digital, inviting its designers to contribute content during the time earmarked for London Fashion Week: men’s in early June.

Will others follow suit and step outside the fashion week system? The idea of large brands of staging pre-collection style extravaganzas on their own timelines could seem appealing as a way to monopolize the digital news cycle and create stronger brand initiatives, however Saint Laurent stresses that in doing its own thing, it is not pulling its support of Paris Fashion Week. “Saint Laurent’s announcement that we will not hold events in 2020 according to the usual calendar does not in any way diminish the role or importance of Paris Fashion Week—which is, very simply, the best in the world,” Bellettini said to WWD. Still, the decision has the potential to set off a chain of events that changes the concept of Fashion Week forever.

The Duke and Duchess of Cambridge Give NHS Workers a Royal Salute in Shades of Blue

The importance of essential workers during the COVID-19 crisis can’t be understated, and around the world, people have been finding ways to celebrate their contributions. In the United Kingdom, the weekly Clap for Carers tribute honors the doctors, nurses, and caregivers of the National Health Service. Every Thursday across the country at 8 p.m., citizens take to the streets to applaud the heroes on the front lines. This week, the initiative received a royal boost when the Duke and Duchess of Cambridge joined in from the steps of Anmer Hall in Norfolk. Dressed in shades of blue—Pantone 300, a bright cobalt serves as the NHS’s official color—Prince William, Kate Middleton, and their three young children George, Charlotte, and Louis cheered on the efforts of the nation’s health care professionals.

As always, Kate Middleton looked polished. Her floral ruffled dress from the High Street brand Ghost sold out moments after she was spotted wearing it. But the duchess’s fashions wouldn’t have been as impactful if her entire family didn’t get on board. Their coordinated color scheme was a subtle show of solidarity with the British people. Recorded as part of BBC Children In Need and Comic Relief’s The Big Night In, they joined celebrities like Sam Smith, Stephen Fry, and Leona Lewis in helping to to raise money for the U.K.’s most vulnerable workers. The event and the Clap for Carers initiative are a statement of unity in the face of the pandemic and the challenges it has caused. Those on the front lines face the most significant risks, but right now, it’s essential that everyone—even royals—do their bit to support, uplift, and inspire.

Paloma Elsesser on Her Boundary-Breaking Supermodel Season

Fashion may be forward-looking, but when it comes to inclusion and diversity, the runways of Europe have long been lacking. For many of the world’s biggest brands, the vision of luxury represented within their collections has remained unchanged for decades; models are still predominantly white, thin, and under the age of 20—but during the fall 2020 shows, there were significant signs of improvement. Awakened to the idea that women of all ages and sizes should be celebrated, Old World houses have begun to broaden their concept of beauty. The shift was embodied by modeling star Paloma Elsesser who, after four years of booking magazine covers and high-profile campaigns, is experiencing her first big season. “It’s a profound honor, my section of the modeling industry has largely been excluded from these sorts of opportunities,” she shared on the phone from New York. “We weren’t considered, and if we were it wasn’t for “high fashion,” so to do a show in Milan or Paris is super-new, exciting, and scary. I experienced a whole different set of emotions.”

At Fendi’s liberation-themed collection, Elsesser broke ground with her Milan Fashion Week debut, walking alongside legends like Liya Kebede and Carolyn Murphy. Her winning streak continued in Paris where she made appearances at Alexander McQueen and Lanvin. Such accomplishments would be impressive for any model, but Elsesser’s position in the industry is unique. As one of the few stars over a sample size to feature prominently within the luxury sector, she regularly books the kind of prestige work that has traditionally been reserved for her straight-size peers. In a business where eating disorders are prevalent, weight is taboo, and size often dictates a model’s trajectory, her achievements are radical, a fact she’s keenly aware of. “In every aspect of my career thus far it’s been about being focused but also being provided with opportunities and leaning into them,” she says. “I have to tap into the service element. If I have complaints about the way the runway has historically operated and I’m being provided with these opportunities [to change things] I have to take them on, despite my fear or lack of experience. I want to do this work so that one day I won’t have to complain.”

That mindset emboldened Elsesser this season. Directly booked for Fendi, she headed into Milan with the knowledge that she would be a part of something special. “They wanted the whole cast to just be models that they absolutely loved,” she explained. For casting director Piergiorgio Del Moro, Elsesser’s presence was essential. “Paloma was one of the first models we discussed as soon as the concept of the show’s casting was defined,” he says. “We knew immediately that she would be key to the casting. The entire show was about beauty and femininity and the atmosphere during the fittings was quite amazing. Each woman felt very empowered and comfortable in their looks and they brought their own confidence and beauty on the runway.”

Behind the scenes, Elsesser was pleased to find that the team was equally inclusive. “It wasn’t a situation where you go in, and the cast is diverse, but everyone on the backend looks the same,” she says. “It was amazing to be surrounded by curvy women who work for the company, whether they’re designers or in the marketing department. Women who all wear Fendi and believe in the force of change. It was truly an authentic and caring moment.” That feeling of unity and female-driven progress was exactly the vibe creative director Silvia Venturini Fendi was going for. “In a moment where we talk more about feminism than femininity, it made me want to analyze the concept of the feminine wardrobe,” she says. “It’s liberating for me to portray these clothes in a different way, on different sizes.”

That sensibility carried into the Paris collections, where Elsesser reunited with stylist Carlos Nazario, an early champion of her career, at Lanvin. “He’s been a major advocate, not just for me but for a lot of girls who are the minority within the fashion industry,” she says. Creative director Bruno Sialelli proved equally encouraging. “He just has this truth to his perspective; when we met I felt like we already knew each other.” At Alexander McQueen, immersed in Sarah Burton’s poetic femininity, Elsesser experienced an a-ha moment. “I just felt so honored and so lucky,” she says. “To be a flash in her vision and in everyone else’s vision. Sarah was so warm, involved, and meticulous, and everyone else came to it with the same level of dedication.”

The statements of Venturini Fendi and Del Moro speak to the changing perspective on size within fashion circles. The strides made by the body-positivity movement have impacted all aspects of culture, and consumers are no longer content with the tokenism of brands including larger models in ads while excluding them from the runway. It’s a shift that Elsesser’s agent, Mina White, has seen firsthand. “Having Paloma walk for Fendi, McQueen, and Lanvin this season brought the conversation around size inclusivity in luxury to the forefront and we’re extremely proud of her,” says White, who also handles stars at the center of the movement like Ashley Graham and Alessandra Garcia. “All women want to see themselves represented and should have the same access to luxury brands. IMG has been pushing this conversation forward for many years by de-bunking misconceptions around the plus-size consumer and educating brands of the opportunities presented by the plus-size market.”

Elsesser has done her share of teaching, her visibility putting her in positions where—fairly or not—she’s had to represent an entire community. “My identity is that of a plus-size woman. Putting me on a runway isn’t a cop-out because I’m not just slightly larger than the other models, I am a size 14 woman. [Still] there needs to be a spectrum of diversity,” she says. “I can’t represent everyone or speak for everyone but that isn’t the point. I hope to speak for someone, to allow people who have never seen themselves in this context to see a representation of who they are.” Ultimately the responsibility falls to brands, who will have to evolve to remain relevant. For Elsesser, those that fail to embrace different sizes are sending a message. “What this month taught me is that if they want to do it, then they can do it,” she says. “Which was also painful to realize because the past four years when I haven’t been included, it’s been an unconscious yet conscious choice.” Still, Elsesser remains optimistic about the future and fashion’s ability to include everyone. “Gone are the days when you can have a show with one black model and claim diversity. I hope that we don’t go back on this progress. I don’t want this to be a flash in the pan,” she says. “Whether it’s me having a successful season or a whole other range of body sizes that can be represented it would be such a disservice to go backward.”

Priyanka Chopra Steps Out in This Surprising Airport Shoe

Flying is not fashion-friendly. You need a no-frills outfit and an even more practical shoe. Chic stilettos make little sense in the airport, even though stars like Rihanna have teetered towards their private plane in them. But most well-dressed celebrities have found the perfect balance of comfort and style for air travel: supermodel Kate Moss, for instance, recently deplaned in cowboy boots (they are flats, after all). But one star who’s making her own rules? Priyanka Chopra, who arrived at the Newark airport in New Jersey yesterday in a more surprising footwear choice.

Chopra, who will star in a new Amazon Prime series titled Citadel, chose a quirky shoe shape for her chic plane look: square-toe boots. Her white boots by Wandler had a thick block heel that was more comfort-oriented than a pin-thin heel. She styled them with a light blue suit by Prabal Gurung and a white tee. Her carry-on of choice was a sleek black Jimmy Choo tote bag, which was roomy enough for one’s snacks, water bottle, and a book. Chopra’s controversial shoe choice follows that of fellow risk-taker Victoria Beckham, who this winter wore peep-toe boots to JFK. The takeaway? Sneakers don’t exist in the world of trendsetters. Perhaps rules of practicality don’t apply when you have VIP status at the terminal.

The Future of Fashion Is Circular: Why the 2020s Will Be About Making New Clothes Out of Old Ones

The key word for Vogue’s January 2020 issue is values. Interpret that as you may: monetary, ethical, sentimental. Every definition relates to the big picture: that fashion needs to reassess its value system, and quickly. We have to change the way money is invested and spent; we have to shop with brands whose values reflect our own; and we have to change the way we assign value to what we buy and wear.

Let’s start by working backward, because I think that last part is actually the most important. In fashion, the inverse of value might be disposability: If your T-shirt costs less than your Starbucks latte, you probably won’t think twice about throwing it out when it rips. Value isn’t just about price, of course; you might cherish a $50 vintage dress more than a designer bag. But therein lies the difference: You value the dress because it’s rare, or because it’s by a certain designer, or simply because it has a story. It may even be more valuable now than it was 30 years ago. Your old T-shirt, on the other hand, is hardly a treasure—and who would want it, anyway? It’s stained, it’s got holes, it’s no longer bright white.

T-shirts are among several “high-frequency basics” that tend to have a single, very short life; underwear, athletic clothes, and shoes fall into the category too. They’re items you wear through quickly, can’t be resold, and are too dingy to be donated, so they inevitably end up in the trash. An estimated 50 million tons of clothing is discarded every year, and most of it will not biodegrade in a landfill. (Synthetic materials like polyester or nylon can also leach chemicals into the earth, and if they’re incinerated, they may become carcinogenic.) The amount of time, energy, and resources that go into those trashed items is usually disproportionate to their quick turnaround; a single cotton T-shirt may require up to 700 gallons of water and may travel across several countries during production. But even if it’s stained or damaged at the end of its life, it could likely be recycled into something else, like housing insulation or even another T-shirt.

Making that clear to consumers will be key to making fashion more sustainable in the future. We’re phasing out single-use plastic and paper bags from our lives, and we should think about our clothes the same way. What will happen to this T-shirt, handbag, or sneaker when I’m done with it? In the long term, it should ultimately change the way we shop, because we’ll only buy things with legitimate value and a feasible end use.

“We need to get used to looking at things and understanding that nothing actually goes ‘away’ [when we throw it out]—there is no ‘away,’” explains Stacy Flynn, the CEO of Evrnu. She came to that realization nearly a decade ago on a sourcing trip in China, where she found herself in a factory town so polluted she couldn’t see her colleague standing next to her through the smog. “I realized how impactful and damaging our industry is to the environment, and began adding up all the millions of yards of fabric I’d made over the course of my career…. I was contributing to the problem,” she says. She launched Evrnu in 2015 and recently unveiled a groundbreaking technology that breaks cotton waste down into a liquid, then remakes it into stronger, higher-performing fibers. A recent Adidas x Stella McCartney collaboration included a hoodie made from Evrnu’s regenerated cotton. “Cotton and polyester make up 90% of all clothing, and both fibers require tremendous amounts of resources,” Flynn says. “Consumers throw away about 80% of their textiles directly in the garbage. We knew if there was a way to take that waste, break it down into a polymer, and build it back up to a new fiber, that would be the lynchpin of reducing our industry’s impact.”

For all of the benefits of natural and organic cotton, hemp, linen, rayon, and so on, it’s almost always better to use what already exists. A key point in the Ellen MacArthur Foundation’s A New Textiles Economy is that fashion must phase out nonrenewable resources and move toward renewable, regenerative inputs. It’s only recently that regenerated fibers have been commercially available, though; Evrnu’s regenerated cotton is still in its prototype stage. Flynn said it will be commercialized next year and in the market by 2021. Next, her team is working on breaking down and rebuilding polyester, followed by recoverable stretch (e.g., athletic gear), then bio-based and engineered fibers (like rayon and Tencel).

“As I start to future-cast for 2025, I think this will be the new normal,” she says. “All of the products we create today will have value in the future and will naturally come back into the system. I can see a world in which consumers don’t even own the things they wear—it will be almost like a lease, where they keep it as long as they want, then return it to the owner, and it’s either regenerated or leased out again. And there’s value in the product when it comes back into the system. I think that’s the biggest catchphrase—that the product has value when it’s being designed. If there is value in the product I’m wearing today, and it will be recreated as a high-quality product tomorrow, that has an incredibly powerful business effect,” she continues. “I actually think it’s one of the greatest design challenges of our century—how we take things from one form to another, with no loss of value.”

It’s a philosophy Chloe Songer and Stuart Ahlum share for their new sneaker company, Thousand Fell. They’re tackling a similarly immense problem: 99% of all footwear ends up in a landfill, for the same reasons as those cotton T-shirts. Shoes get worn down, they get dirty, they smell, they lose their support. And in addition to their single-use nature, most sneakers are made of at least a dozen plastic parts. In a landfill, they could take up to 1,000 years to break down, eventually degrading into tiny plastic particles that make their way into the soil and ocean (and eventually our bodies). Thousand Fell’s solution is to offer vegan sneakers on a closed-loop model: Wear them out, send them back, and they’ll be recycled into other sneakers—and you’ll get a credit for a new pair.

Songer and Ahlum had deep industry experience prior to launching Thousand Fell. Songer worked in business development for Alexander Wang and in merchandising at Gap, and Ahlum ran another men’s sneaker brand. For Thousand Fell, they zeroed in on white, low-top sneakers in particular because they’ve become such a foundational item in our wardrobes. (Think: Adidas Stan Smiths, Vans slip-ons, Greats Royales.) We wear them to work, on the weekend, and even out at night, and because they’re nicely priced, we don’t hesitate to buy them often. “People are replacing their white sneakers every four to six months,” Ahlum says. “They don’t know what to do with them [when they’re dirty], so they throw them in the trash chute. There isn’t a secondary market for those kinds of basic sneakers, so it falls on the brand to recycle them and have an end-of-life solution.”

Designing the sneakers for recyclability was a two-year process, and the final results feel like leather, but aren’t. (Songer pointed out that leather is commonly mistaken as natural or biodegradable, and it isn’t; most leather is treated with chromium or plastic.) The uppers are made of post-consumer plastic that’s coated with quartz for durability, and the rest is a mixture of recycled and natural rubber, aloe vera, and food waste native to Brazil, like sugar cane, coconut, palm tree leaves, and corn. The duo also insist the sneakers are built to last for eight months, not three; they aren’t encouraging you to send your sneakers back prematurely. “It shouldn’t be on the user to drastically change their behavior,” Ahlum says. “There are always going to be products people wear through quickly. There just needs to be a turnkey solution so you can continue wearing what you love every day.”

Eleanor Turner is bringing years of ready-to-wear design experience (most recently at Argent, Tory Burch, and J.Crew) and a passion for creative problem-solving to the Big Favorite, a new line of circular “first layer garments” (i.e., T-shirts, underwear, and leggings) launching in spring 2020. It’s a reprisal of a workwear brand of the same name her grandfather founded in the 1940s: “I always dreamed of reviving the brand by rethinking the idea of American legacy in a meaningful, modern way,” Turner explains. “I believe our new legacy [will be] a brand-led ecosystem where everyone can participate in doing better for themselves and the planet. One garbage truck of textiles is sent to the landfill every second, and most fashion brands stop short when thinking about the planet. I spent a decade in fashion creating what will eventually end up as trash, and used to throw out boxes of plastic hangers and samples. When I started realizing the implications of those choices, I saw them everywhere—in chemical dyes, in polyester or plastic fibers, in polybags, in shipping.” Alternatively, the Big Favorite’s model is similar to Thousand Fell’s: Order a few organic cotton basics, wear them out, and send them back to be responsibly recycled into new garments.

“Future generations will have to deal with a scarcity of resources and the consequences of consumerism in a way that we never have,” Turner continues. “Both pre- and post-consumer textiles will become an incredibly valuable commodity, and the Big Favorite is here to prove that we can build successful businesses that do better for both consumers and the planet.”

If I had to make one prediction for 2020 and the years to follow, it would be that we’ll see more closed-loop companies like Thousand Fell and the Big Favorite (and more designers linking up with Evrnu). A more sustainable fashion industry depends on using what exists, eliminating the problem of clothing in landfills, and reframing the way we value our garments. It seems entirely feasible to me that one day, all of my “high frequency” items—for me, that’s T-shirts, cashmere sweaters, camisoles, flat sandals, leather boots, and jeans—will exist on a closed loop. When they’re worn out, I’ll send them to be recycled or upcycled, with nothing wasted in the process. Everything else in my closet would be an item I really love, something I’ve purchased with the intention of keeping for a long time, be it a classic blazer or vivid floral skirt. Longevity means different things to different people, and even if I fall out of love with something, it will be high-quality enough to resell on the RealReal or Vestiaire Collective. Again, nothing wasted.

What won’t make sense in the next decade? Spending $300 on a designer T-shirt or indulging in a cheap fast-fashion thrill. Neither has resale potential—that T-shirt will suffer the same fate as a $10 Hanes tee, with pit stains, holes, and faded colors—so they’re destined for the garbage or a pile of unwanted donations in East Africa or India. Plus, the idea of owning something cheap that you only wear a few times feels pretty horrible in light of the climate crisis; once you know precisely what goes into a garment—the good and the bad—it’s impossible to shop so carelessly again.

Kendall Jenner Proves a Reusable Cup Is the Best Accessory

In this day and age, a reusable to-go cup is practically a mandate. So why not allow the vessel to double as an accessory—or even a jumping-off point for an equally of-the-moment makeup look? Such was the spirit of Kendall Jenner’s Sunday look, which centered on a bedazzled iced coffee cup supplemented by equally radiant skin.

The streets of New York City saw the supermodel sipping from a diamante cup emblazoned with her initials—rendering the coffeeshop name game all but obsolete—the on-the-go container serving as a reminder that ethical choices are not only simple, but they’re fashionable as well. Above neck, Jenner kept things simple, her lit-from-within skin swept in warming bronzer, and her pout playing host to a touch of petal pink balm. A characteristically sleek, nearly wet-look mane—parted at center, tucked behind ears, and left to hang down her back—finished the look, primed for commutes of all kinds. Just hop out of the shower, grab your ethical mug, make sure your own is well-tended, and you’re set for an inspired day out.

Kelsey Lu Puts a Punchy Twist on a Classic Suit

Kelsey Lu’s wardrobe, especially when it comes to the garments that she wears onstage, can usually best be described as frothy: she can pull off mounds of Molly Goddard tulle or a baroque No Sesso gown with a sense of casual ease. For her performance at the Tate Modern in collaboration with Uniqlo and NTS Radio in London this past Friday, though, Lu took things in more of a streamlined direction. In lieu of a gown or something similarly over-the-top, Lu donned a classically slouchy suit.

The Kwaidan Editions set that Lu wore wasn’t totally traditional, though: Lu chose an acid green colorway, which her stylist Mindy Le Brock paired with some metallic gold Y/Project heels. In the photo’s accompanying Instagram caption, Lu thanked the Tate and NTS for letting her rework the setting of her performance last minute and Kara Walker for her “brave emotional art,” ending it all with an invocation that everyone can get behind: “To More Experimentation.” Lu certainly means that beyond just the domains of music, sound, and art—it can clearly be a guiding force for her otherworldly outfits, too.

Troye Sivan’s Latest Tour Transformation Is His Best Yet

Troye Sivan’s Australian tour has found the singer in full chameleon mode. With the help of stylist Marc Sebastian Faiella, Sivan has transformed into numerous era-specific celebrities, including Pamela Anderson on the 1999 MTV Video Music Awards red carpet via a baby pink marabou top hat and a waist-snatching corset. He’s even evoked more general concepts too, like when he dressed up as an angel (halo included) for a heaven and hell-themed show in Adelaide, or an opulence-inspired look for his date in Brisbane. And just in case you forgot it’s 2019, there was a yeehaw-themed outfit, too.

Sivan clearly saved his best transformation for last, though: the Australian pop star went full Ziggy Stardust for the last stop on his Bloom tour in Melbourne. Sivan proclaimed that “POP!” was the category for this one, for which he channeled a very specific David Bowie look: the form-fitting red jumpsuit, blue blouse, black block-toed patent leather heels, and eyepatch that Sivan donned are an exact replica of the outfit that Bowie wore for his 1974 kaleidoscopic performance of “Rebel Rebel” on Dutch TV show TopPop. Faiella even revealed on Instagram that it was the first time he put his fashion design degree to use in years to craft the pants. Although Sivan stopped short at wearing a red wig cut in the style of Bowie’s iconic mullet, there’s no question that he still nailed it.

Rihanna is Bringing Her Savage X Fenty Fashion Show to Your TV

Looking for a fashion show to watch on TV? Rihanna has you covered. According to a just-posted Instagram, the singer turned designer is planning a major event for her Savage X Fenty collection that will also be streamed on Amazon Prime Video on September 20. “We are working on creating the most bold, sexy, super-energetic experience you can imagine!” she wrote. The excitement was instant, with commenters instantly flooding the post with the flame emoji.

This September’s Savage X Fenty broadcast will be Rihanna’s second event for the brand since its launch in 2017. One year ago she held a show at the Brooklyn Navy Yard that opened with modern dancers followed by the likes of Gigi Hadid, Paloma Elsesser, and Duckie Thot in some of the sexiest lingerie to ever walk a NYFW runway. Infamously, the show was closed by a nine-month-pregnant Slick Woods in nothing but a thong, pasties, and teensy bodysuit. Immediately after her runway turn, Woods went into labor and delivered her son, Saphir.

Produced by the unscripted arm of Endeavor Content and Amazon, this year’s documentary is expected to offer similar levels of drama as well as behind-the-scenes access to the making of the collection. “Rihanna has conquered the worlds of music, film, beauty, and fashion. She has reinvented the idea of what fashionable lingerie should be for a global customer. The brand authentically reflects empowering statements of inclusivity, body positivity, and fun! The Savage X Fenty show promises to be a groundbreaking and truly unique experience, and we’re thrilled to give our global customers an exclusive front-row seat,” said Amazon Studios head Jennifer Salke in a release.

This is all good and well, but the question remains: Is this a proper fashion show? And if yes, when and where is it? A press release hints at a potential New York Fashion Week activation, noting that the documentary is in partnership with NYFW: The Shows, IMG’s proprietary New York Fashion Week programming. While the CFDA’s new five-day schedule is already pretty jam-packed with runway shows and events, it’s obvious to say: We’ll make time for Rihanna.

Selena Gomez Has a Go-To Vacation Bag—And It’s Super Chic

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Selena Gomez has been nailing the art of vacation style this week. She began her getaway by celebrating her 27th birthday in Rome, then headed on over to the island of Capri, where she wore the understated combo of a sun dress and straw hat. Throughout all these beachy looks, however, the singer-actress has been carrying around one steadfast companion: a chic bucket bag. And it’s a perfect summer accessory.

Today, Gomez was spotted strolling along a jetty on the Amalfi Coast carrying Staud’s Bissett canvas top-handle bag. Retailing for $295, it’s an accessible style that’s heavy on the polish factor. With just the right amount of roominess, it fits one’s sunglasses, iPhone (for those ’grams), and wallet—all the essentials for sightseeing. Gomez paired her bag with a white denim jacket, orange tank, and denim cut-off shorts. On her feet, she also wore the same block heel sandals by Ancient Greek Sandals she’s been wearing all week long—because if something works well, you work it hard.

Inside Carol Lim and Humberto Leon’s Last Show for Kenzo With Selah Marley

Last night, in the sea of thousands who gathered in the Bercy Arena in Paris to witness Carol Lim and Humberto Leon’s final show for Kenzo, Selah Marley was fangirl-ing. The model was front row to support her two friends as they took their final bow as creative directors of the French fashion house. “Carol and Humberto brought Kenzo back to its roots in fashion,” Marley said. “They did it through their use of Pop art and youthful silhouettes, textures, and imagery. I adore their joyous attitudes, their daring characters, and their extravagant productions.” Lim and Leon’s swan song on Sunday evening certainly counted as over the top, not only for the fact that it was held inside a massive arena but also because there were two performances: one involving a dance troupe wearing archival looks from Lim and Leon’s eight years at the helm, and the other a musical interlude from Solange Knowles.

Marley, dressed in a bright orange lace ruffle skirt and matching cropped anorak by Kenzo, was mesmerized by the show, which was partly inspired by female free divers in Japan. “Carol and Humberto are always willing to take things to the next level and break boundaries,” she said. The model ran into a few New York friends before the night was over, including DJ Kitty Cash and RuPaul’s Drag Race finalist Miss Fame, a chance meeting that resulted in a pretty epic fashion moment. See how Marley’s entire evening unfolded in her behind-the-scenes images, above.

This Is How the Biebers Do Memorial Day Weekend Style

Memorial Day weekend is high time to relax with friends and family. Perhaps it’s a picnic in the park, or a quick cottage getaway. But when you’re Justin and Hailey Bieber, it serves as an opportunity to hit the shops. Yesterday, the newlywed couple did some retail therapy in Beverly Hills, California together—and for their shopping marathon, they embraced coordinated outfits that were all about laidback style. (Fitting, given the restful nature of the holiday.)

Dressed in their signature athleisure, the pair opted for comfort as they perused the latest merchandise. Justin wore a gray oversized sweatshirt with baggy jeans, distressed with colorful splatters of paint. He accessorized with a yellow beanie and, on his feet, Off White x Nike sneakers that had the signature orange zip tie. (Sportswear meets streetwear—his signature.) Meanwhile, Hailey went for a more understated, all-black look: she slipped on an oversized hoodie and trousers, styling it with classic black Vans and large squared sunglasses.

While the couple’s ensembles in the past have been more of a balancing act—Justin in true athleisure, Hailey in more fashion-forward pieces—it’s apparent the duo is starting to meld their style. Justin’s stepping things up with cult sneakers; Hailey’s dressing things down with a skater-inspired aesthetic. They've officially met in the middle. The takeaway? Well, they say true love is when two minds become one—but in this case, it’s when two wardrobes do.

Katy Perry Pulls Off This Season’s Riskiest Makeup Trend

Forget kohl-rimmed eyes and smoked out contour: this season's coolest makeup trend is a refreshing wash of airy pastel shadow. And just months after Pat McGrath sent models down the Valentino Fall 2019 runway with soft lilac and coral-painted lids, beauty risk taker Katy Perry is the latest to test drive the cool-girl spring beauty staple.

Following in the footsteps of Gigi Hadid and Lady Gaga, who both recently took the candy-colored red carpet statement for a spin, Perry opted for a striking shade of sky blue that seems to have been applied with a fluffy brush and blended up into the brow bone. Paired with a neon tangerine Staud jumpsuit and textured platinum waves, the pop star stepped out for a date night at Madeo in Los Angeles with her fiancé Orlando Bloom.

Janelle Monae’s Latest Look Is a Lesson in Neon Bright Beauty

Janelle Monae is no wallflower: the singer and actress is known for her outré looks both on and off the red carpet, where she’s cultivated an experimental look that is always slightly offbeat in the best way possible, a touch theatrical, and never short on color. Yesterday, Monae hit the red carpet at the 2019 Kids’ Choice Awards in Los Angeles, and she continued on that vivacious spirit. To mark the first week of spring, she chose to deep-dive into one of the season’s biggest trends: neon bright beauty.

Looking to the recent Spring 2019 runways, a few of the eye-popping beauty trends that dominated the season included pastel eyes, bright lips, and an overall celebration of high-octane color. Monae infused that idea into her look on the step and repeat yesterday, in an unexpected way: she glided on some teal mascara, coating it onto her thick, fanned-out lashes. It proved to be a fresher take than, say, colored eyeshadow or eyeliner, though equally as impactful. Then, on her nails, she chose a sunshine-yellow polish, which made the case for color-blocking a manicure against one’s makeup.

Considering her two bold choices for the awards ceremony—colorful mascara and mani—Monae left the rest of her beauty look simple: glowy skin and a pale pink glossy lip accentuated her more playful neons. So, while fall-winter was all about those dark, moody hues, Monae’s daring combo officially proves it’s time to lighten things up again for spring.

Lady Gaga Just Brought 128 Carats Worth of Bling to the Oscars

Even as the record-breaking success of A Star is Born has elevated Lady Gaga from pop superstar to serious thespian, the multitalented performer has never lost her sense of fun. Her arrival on the red carpet at the Hollywood and Highland Center was among the most anticipated tonight, and she delivered a look that was quintessentially her. After wearing everything from custom Celine to Valentino Couture during awards season the choice of a stately Alexander McQueen was a welcome surprise that reflected both her love of risk-taking fashion—she’s repeatedly listed Lee Alexander McQueen as her favorite designer—and her status as a double nominee.

Never one to choose a basic black dress, Gaga opted for a dramatic new red carpet silhouette. With its sculptural padded hips and lengthy train, the Sarah Burton design was an ultra-feminine choice with an editorial update that kept things exciting. By accentuating an area of the body many dresses merely glide over, the dress offered a sexy and fashion-forward twist on the traditional Oscar gown.

Gaga scored the ultimate accessory to complete the look: a Tiffany diamond whose legendary fancy yellow stone was first discovered in 1877 and has led a storied life since. The diamond was displayed at the 1983 World’s Fair, used in the promotional materials for Breakfast at Tiffany’s, and featured in the Musee des Arts Decoratifs in Paris during the mid-nineties. Despite its hundred-year history, the diamond has only been worn by three women: socialite Mrs. Mary Whitehouse, Audrey Hepburn, and now Lady Gaga.

Valued at more than 30 million dollars, the necklace featuring the stone and 100 more carats of white diamonds added the perfect final touch to Gaga's look. Whether or not the famous gems serve as a good luck charm remains to be seen, but one thing is certain: Gaga pulled off a movie star moment for the ages.

Clearly Offset Had More Fun Than Anyone at Paris Fashion Week Men’s

Offset made his memorable runway debut this past fall at Jeremy Scott’s show in New York City (in a Pikachu-adorned sweatshirt, no less), though he’s taken his modeling side hustle to a whole new level with his latest appearances at Paris Fashion Week Men’s. He walked in the Off-White show last week, wearing what was undoubtedly one of the collection’s standout pieces (a light purple puffer with a trendy cross-body bag built in). He then attended Louis Vuitton the very next day, landing on the scene with a huge smile on his face and stacks of hundred dollar bills in his hand. He posted the photo to Instagram with the caption “Having fun at Paris Fashion Week,” as if that wasn’t clear from the outset.

Now the rapper is sharing an exclusive behind-the-scenes peek inside his action-packed week, which, as you’ll discover, is a fine showcase for his distinctively drippy style. From chatting with Virgil Abloh backstage to making the classic turtleneck-and-chain combination look more luxurious than ever alongside Kid Cudi, Offset seemed to have more fun than anyone during Paris Fashion Week.

Diane Keaton Proves She’s Still the Boss With One Kitschy Hat

Diane Keaton is known for her quirky personal style as much as she is her acting roles. Her iconic turn in Annie Hall, for instance, will forever be remembered by its chic menswear-inspired vest, white button-up, and tie. Off-screen, Keaton has maintained her own distinctive look as well, often favoring classic white and black getups that are worn with her signature bolo hats. (A big hat requires a big personality, after all.)

Today, she proved she’s the boss of pretty much everything with a kitschy post on Instagram. Captioned “I’m not bossy, I’m the boss,” Keaton is seen wearing a crisp white shirt—collar popped—with a black beanie covering her eyes. The hat is monogrammed with the word “Boss” in big and bold letters at the front. A quick social media deep-dive proves she’s certainly the boss of #ootd posts: a week ago, she also posted a full-length pic asking her followers what to wear. One option was a camel coat, leather skirt, and leopard-print booties; another was a boxy plaid overcoat, paired with an above-the-knee turtleneck dress.

Is Keaton Instagram’s next style influencer? One must remember: she’s the OG trendsetter, and that’s something today’s influencers simply can’t copy.

Rita Ora Delivers the Antidote to the Frumpy, Michelin-Man Puffer

Oh, the puffer: perhaps the trickiest winter coat of them all! Though the cozy insulated coat provides the kind of reassuring warmth few other outerwear pieces can, its voluminous silhouette can read 100 percent Michelin Man. But fear not: there is an answer to this seasonal conundrum, and Rita Ora just might have it.

The British singer combatted the brisk weather while performing at the Macy’s Thanksgiving Day Parade in New York City yesterday, dressed in an above-the-knee puffer coat by Moncler. With its extra-puffy sleeves and cinched waist, the coat had a more tailored line than you’d expect from the average puffer.

To streamline her ensemble further still, she paired the coat with black tights and a sheer, lace-trimmed skirt. Accessories such as a hefty pair of lug-sole combat boots were primed for chilly temperatures.

Sahle-Work Zewde Is Ethiopia’s First Woman President and Africa’s Only Serving Female Head of State

Ethiopia made history on Thursday when its parliament named the nation’s first-ever woman president and currently Africa’s only serving female head of state: Sahle-Work Zewde, a veteran diplomat and former United Nations official. In an address after taking her oath of office, President Sahle-Work, 68, pledged to work toward a “society that rejects the oppression of women” and to strive for peace and unity. And to those who may have thought that she talks too much about women, the new head of state of Africa’s second most populous nation said she’s only just getting started.

It’s being noted in the wake of Sahle-Work’s election by Ethiopia’s parliament that “president” is a largely ceremonial post in Ethiopia, with more executive power held by the prime minister (Abiy Ahmed). Since taking office in April, 42-year-old Abiy has made progressive changes in the country including releasing political prisoners, welcoming back exiled dissidents, and brokering peace with long-standing adversary Eritrea, The Washington Post noted. He’s also called for the promotion of more women, resulting in a pink wave of sorts: After a recent cabinet reshuffling, half of the posts are now held by women.

Sahle-Work’s appointment was cheered by the PM’s chief of staff (and de facto spokesperson), Fitsum Arega, on Twitter. He wrote, “In a patriarchal society such as ours, the appointment of a female head of state not only sets the standard for the future but also normalizes women as decision-makers in public life.” Here’s hoping someday the U.S. will catch up.