57 posts tagged "Gwyneth Paltrow"
If you thought the Gravity hype had dissipated, think again. Today, Forbes released its list of the top 10 earning actresses in Hollywood, and Sandra Bullock, who was more or less the one-woman act in Gravity, leads the pack with $51 million. The global phenomenon cost nearly $100 million, brought in $715 million at the box office, and won seven Oscars.
Interestingly enough, given how eager fashion and celebrity have been to get into bed together lately, Bullock has never really courted fashion icon status or apparently been courted by fashion companies. She beat out a host of actresses who have all fronted major ad campaigns, like Dior star Jennifer Lawrence, Angelina Jolie (who’s lent her image to St. John and Louis Vuitton), and Gwyneth Paltrow (who has appeared in many campaigns, including ones for Max Factor, Coach, and Estée Lauder). Bullock, by contrast, doesn’t have any major, big money fashion contracts to her name.
Second on Forbes‘ list is 23-year-old Jennifer Lawrence, who raked in $34 million, largely thanks to her role in The Hunger Games. Third is Jennifer Aniston, who cashed in at $31 million, and fourth is Goop girl Gwyneth Paltrow, whose $19 million came mostly from Iron Man 3 and her Max Factor and Hugo Boss endorsements. Angelina Jolie and Cameron Diaz are tied for fifth place, earning $18 million each. Combined, the top 10 earning actresses earned $226 million—which looks like a lot of money until you find out the top-earning actors made nearly twice that with a combined $419 million. Since the recent trend of female-lead blockbusters is clearly paying off, maybe that gap will start to close soon.
If you had any doubts that Fendi was one of the coolest brands on the block, they should be laid to rest. The house behind some of the most whimsical, luxuriously irreverent takes on fur around (coats dripping 24-karat gold and fur-embellished buggie bag charms, anyone?) is now collaborating with one very formidable group of power women on a series of DIY-styled, ultra-customized bags. The Peekaboo project—launching with an online auction this Thursday beginning at 6 p.m. GMT and the opening of a new London Fendi store on Friday—enlists the likes of Gwyneth Paltrow, Tracey Emin, Cara Delevingne, Adele, Jerry Hall, Georgia May Jagger, Zaha Hadid, and more to add their takes to the house’s Peekaboo purse, with the guiding design of Silvia Venturini Fendi.
“The Peekaboo has always been associated with strong iconic women since its creation,” Venturini Fendi told Style.com of the bag, which was introduced for Spring ’09. “We loved the idea to involve women, each of them an icon in her own field of competence. Iconic women working on an iconic bag.” Each of the custom bags—which range from a simple white crocodile version by Paltrow to actress Naomie Harris’ leather satchel imprinted with a butterfly-covered map of Africa (a “message of love and freedom,” said Venturini Fendi)—will be auctioned off to benefit Kids Company, a charity providing support to more than 36,000 inner-city kids in London and Bristol. “We wanted to do something special and unique on the occasion of Fendi’s new boutique opening in New Bond Street,” explained Venturini Fendi. “On one side, we wanted to give back to the British community, and on the other, to celebrate the iconic Peekaboo bag, a bag that since its creation in 2008 was conceived for a total customization, and even more so now with the new MTO service available in the New Bond Street boutique.”
“The main reason I was attracted to the project was because it was raising money for Kids Company, which I think is a fantastic charity,” related Adele, who created a rather cheeky take on this season’s Bag Bug Peekaboo. “The fact that I got to design a handbag was just an added bonus—I got quite carried away and could easily enjoy designing handbags forever.”
Architect Zaha Hadid saw the project as lending wings to her broader creative practice. “Designing these smaller pieces is of great importance to us, as they inspire our creativity, giving us an opportunity to express our ideas on a different scale and through a different media, while helping to raise awareness and funding for a wonderful cause that supports so many children in the U.K.,” she said.
“I really hope this joining forces between women—Fendi itself is also a company created by women for women, from my grandmother to my mother and aunts, now me and also my daughter—will bring amazing results and proceeds for the online auction to benefit Kids Company,” concluded Venturini Fendi. “We left [our collaborators] to express their own creativity without limits, and thanks to our amazing artisans, we were able to make their dreams become reality. Because at Fendi our motto is ‘Nothing is impossible.’”
Fendi lent its talents to Wes Anderson’s latest cinematic confection, The Grand Budapest Hotel, costuming both Edward Norton and Tilda Swinton (yep, that’s her in the middle) for their roles in the film alongside Oscar-winning costume designer Milena Canonero. At press time we can only speculate as to what Prada might think of Anderson’s infidelity, but Miuccia can’t be too upset. After all, Anderson and Fendi do have a history—the house created Gwyneth Paltrow’s now iconic mink for The Royal Tenenbaums.
In the end, perhaps fashion isn’t so complicated. It boils down to this: How do I find my signature and how do I develop it over time? Three things that people have said to me on this subject have stuck in my mind:
Carlyne Cerf de Dudzeele (stylist): “I get inspiration from Mr. Alaïa, Mr. Lagerfeld. They know, you know? They know. They are not like all these young designers who change every six months. I think this is strange, because when you have talent inside, you never really change.”
Azzedine Alaïa (designer): “It’s inconceivable to me that someone creative can have a new idea every two months. Because if I have one new idea in a year, I thank heaven.”
Riccardo Tisci (designer), speaking approvingly of Hedi Slimane’s tenure at Saint Laurent: “I think Hedi, he wrote his first chapter [i.e., at Dior Homme] in a capital of fashion, and then he took his time off, and then he started from the same page. It’s like when you go to bed and you’re reading a book: You do the little corner, and then the night after, you start from the same page. And the aesthetic that he does really belongs to him. For sure, it is something that doesn’t look like anybody else, and that’s what I like.”
These thoughts were thrown into particularly sharp relief during a busy day of shows in New York yesterday.
What’s more remarkable about Kors: the fact that he’s now worth a billion dollars or the fact that, after three decades in business, he isn’t resting on his laurels? With his last two collections, he has brought his vision of American luxury into razor-sharp focus.
A very different designer from Kors, of course, but in his own way as American as apple pie or Pop Art. Scott has done what you do if you have your own signature: lived through a few seasons where he enjoyed the support of the faithful—and it’s some faithful; he draws the liveliest crowd in town (hey there, Jared Leto)—but didn’t have the full attention of the fashion press. Thanks to his recent appointment as creative director of Moschino, he’s firmly back in the media spotlight. He didn’t waste the opportunity, delivering a collection that riffed confidently on two great American pastimes: sex and sports.
How do you define the signature of a commercial juggernaut, best known for its menswear, which is now making a serious push into womenswear? That’s Jason Wu’s brief at Hugo Boss. He’s started to do it with the collateral: an Inez and Vinoodh-shot campaign; Gwyneth Paltrow as the face of the fragrance. And his debut collection? As Nicole Phelps said in her review, “Wu’s challenge going forward will be to maintain the Boss polish while figuring out ways to loosen up and have a bit more fun.”
I would be remiss not to mention Sui in this recap. She is one of the treasures of the New York calendar. Here’s Tim Blanks on what made her latest collection such a decadent delight.
Krakoff has been giving this subject a great deal of thought lately. After a few collections that felt the anxiety of European influence, he is now focused on creating his version of American luxury. Read Nicole Phelps’ review here.
Jack McCollough and Lazaro Hernandez were part of a pack of young New York designers who broke through in the last decade. When they celebrated their tenth anniversary a couple of years ago, they decided to drill down on their label’s identity, starting with a powerful but understated new logo. Their aesthetic, now reliably their own, is rooted in the contemporary New York art world. It’s no coincidence that yesterday’s show took place at Gavin Brown’s Enterprise, a gallery in the West Village.
IT’S RALPH, THOUGH
As it happens, I’m writing this after seeing Ralph Lauren’s show on this snowy Thursday morning. Lauren showed looks from his Polo line alongside his top-end collection today, and the move invigorated him. These clothes were as clear and direct as a Hemingway sentence. If America didn’t exist, Ralph Lauren would have had to invent it.