Kim Kardashian Defies Jeff Bezos and Lauren Sanchéz's Black-Tie Wedding Dress Code, in Body-Hugging Bandeau
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This summer's most-talked-about wedding has finally arrived. Amazon billionaire Jeff Bezos and Lauren Sánchez are tying the knot this weekend, following a star-studded bachelorette party and a quick jaunt to space. And the A-list attendees have begun to touch down.
Kim Kardashian was one of the first celebrity guests to arrive in Venice for the destination wedding, alongside Khloé Kardashian and Kris Jenner. On June 26, Kardashian was spotted at Marco Polo Airport, before boarding a boat to the three-day nuptial event. Fashion enthusiasts assumed Kardashian's wedding looks would lean more Italian (think: SKIMS's collab with Dolce & Gabbana). Instead, she channeled '90s grunge in charcoal gray Balenciaga 'fit.
The reality TV star sported a twisted strapless bandeau bra. Paired with a body-hugging maxi skirt, also from the Spanish label, her outfit juxtaposed the ceremony's black-tie dress code dramatically. A matching zip-up hoodie hung loosely around Kardashian's elbows. Kardashian's next surprise came in footwear form, as she slipped on a pair of snakeskin boots from Amina Muaddi—a decidedly anti-summer shoe style.
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Khloé followed her older sister's lead, in a skin-tight leopard-print jumpsuit (similar to the style she wore for her Kourtney Kardashian's 2022 Italian wedding). The Good American founder elevated her bustier-style one-piece with matching mules in a metallic bronze shade.
Her airport-approved carry-on was Louis Vuitton's customizable Keepall Bandoulière 45 in baby pink with a white monogrammed print. The bag is listed for $2,520, without the personalized details.
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Contrary to her daughters, Jenner looked ready for the wedding in a goth-glam gown. Cascading lace tiers covered the long-sleeve number from top-to-bottom, much like the Dolce & Gabbana designs she wore at Kourtney's wedding. Cat-eye sunglasses and a cross necklace completed Jenner's arrival attire.
Watch this space. The best looks are certainly to come.
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'Eat the rich': Venice protests shadow Bezos wedding
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Bezos wedding protesters demand the billionaire ‘get out of our lagoon'
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Across the ages: a Milanese architect follows in his grandmother's footsteps
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Known as the enfant terrible of 20th-century Italian design, Munari believed, among other things, in the democratisation of art and that beauty and function should be combined, without recourse to rule books or tradition. Recalling his first Munari workshop, Luigi says, 'They put a blank sheet of paper in front of us and asked us to tear off the edges because a design, an idea, does not have to be circumscribed within a rectangular perimeter.' Even now, the importance the Italian polymath placed on freedom of form and expression informs Luigi's work. As a design team, he and Alice bring an openness to their projects, which include the renovations of buildings from the early 1900s and new designs for villas or country houses. They allow period features to co-exist with any traces of prior inhabitants, no matter how innovative the design solutions they bring to a space. 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Luigi wanted the entire space to function as a 'dream machine', a concept that gestures to Bruno Munari's early love of futurism. 'We had fun creating a living machine capable of responding to the needs of two teenagers, with ladders that move as they do in Harry Potter's Hogwarts castle, or suspended nets like those of catamarans for the girls to lie up in the air and read or think.' The interplay of the playful and practical is celebrated in the bespoke 'floating' kitchen, where geometrical planes of colour define the space, as they do throughout the home. 'The iron pipes of the heating system dictated the theme of the suspended kitchen,' explains Luigi. 'The pipes used to sit against the dividing wall of the old dining room.' In the new design, the dividing walls between living room, dining room and kitchen have gone and the exposed pipes, painted tangerine, are mirrored by matching ironwork above the free-standing counter. The tangerine is picked up in vintage wallpaper in both kitchen and living space. Luigi and Benedetta like to have friends and family to supper. Ingenious design solutions reflect this, including a frosted-glass panel. 'It can be opened and oriented in various positions to screen the cooking area,' says Luigi. 'A small pantry behind it allows you to store all the essentials while leaving the counter space free.' The elegantly délabré walls of the living space were a happy accident. 'While we were in the middle of demolishing the walls, we discovered older wallpaper, hidden under the various layers of plaster,' says Luigi. 'Initially everything was supposed to be more neutral, but instead we played with palette interventions that could interface with the old walls.' They kept all the original cement floor tiles. Benedetta used to run a vintage furniture shop – 'She's always on the hunt for pieces with a strong identity,' says Luigi – and there is a lively mix of ceramics, artworks and statement lighting. In the living space, a 1962 blue Square Sofa by Marco Zanuso for Arflex holds the room, with texture and accents of white provided by a white lacquered 1968 Foglia wicker chair and a pair of white logs made by Concepta for an installation at the Salone del Mobile a few years ago. The jaunty stripes on a painted metal table lamp by Mario Botta holds its own against both a 1970 square metal wall lamp by Kazuhide Takahama and a larger, signed metal wall lamp, the 1970 Accademia by Cini Boeri. This Milanese home may be filled with art works and notable design pieces, but there is nothing precious about it. 'When we are at home we always gravitate to the living area, where there is the hustle and bustle of teenage friends,' says Luigi. There is also a much-loved pet – a huge black retriever. 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