Latest news with #Anderson
Los Angeles Times
5 hours ago
- Los Angeles Times
California man selling Stan Lee signed memorabilia sentenced to prison for $1.2-million tax fraud
A Riverside County man was sentenced Thursday to more than a year in prison for tax fraud after selling memorabilia signed by comic book legend and Spider-Man co-creator Stan Lee, according to authorities. Mac Martin Anderson, a 59-year-old Corona resident, was sentenced to a year and one day in federal prison after allegedly getting more than $1.2 million in proceeds that he never reported to the IRS, according to a news release from the U.S. Attorney's Office for the Central District of California. Anderson was also ordered to pay $482,833 in restitution. Anderson pleaded guilty in March to two counts of willfully subscribing to a false tax return, according to authorities. Between 2015 and 2028, Anderson had a personal relationship with Lee and sold Marvel items that had Lee's autograph to dealers, brokers and fans. Anderson got an income of about $1.236 million from selling the memorabilia between 2015 and 2018 and admitted that the tax that was due was about $482,833, according to the release. Lee helped spearhead Marvel Comics' transformation in the 1960s into a powerhouse brand. He helped introduce Spider-Man to Marvel in August 1962. He was later credited as associate producer on movies starring Marvel characters including Iron Man, X-Men and Captain America, in addition to Spider-Man.
Fashion Network
6 hours ago
- Entertainment
- Fashion Network
Jonathan Anderson debuts at Dior: Welcome to the New Era
Jonathan Anderson presented his debut collection for Dior behind a famed French monument to its military, Les Invalides, and at the finale it felt very much like a designer marching to glory. See catwalk Think of it as the New Era, rather than the New Look, as the Irishman riffed on Dior's DNA, and many women's wear designs of Monsieur Dior himself, to create a powerful pathbreaking fashion statement. Take Monsieur's autumn 1948 multi-fold Delft dress made in silk faille which Anderson then morphed into multi-leaf white denim cargo shorts that opened the show. Or a superb check wool coat, nipped at the waist but scalloped below the hips, a look Monsieur named Caprice from spring 1948, which led to a great series elephantine men's pants with wraparound features. The Stakhanovite Anderson has clearly been putting in long shifts at Dior, mastering the codes, delving into the archives. Playing on another Dior classic, Christian's Autumn 1952 dimpled moiré coat, La Cigale. But taking it forward into the 21st century with some great undulating coats. Plus, his Donegal tweed style versions of the house's signature Bar jacket were pretty sensational. Throughout, there was a whole Edwardian feel – with high collars, stocks and knotted bows, albeit worn without shirts, and paired with great Dior grey fracks, albeit paired with faded jeans. Plus, Anderson will surely ignite huge demand for the trim linen summer gilet - in pink or finished with flowers. While his Jacobean rogue coats will be huge hits. Many looks anchored by a new suede boxing-meets-trail bootie. He dreamed up one striking new mop bag, but otherwise played with Dior's hit fabric tote, but creating many versions printed with classic novels – from Françoise Sagan's "Bonjour Tristesse" to Bram Stroker's "Dracula". If occasionally erratic – one or two chino and striped shirts looks reminded one that Anderson has made several capsule collections for Uniqlo – it still all felt like a major menswear statement and huge hit. Without question it was the most anticipated debut by a designer at a major house this century. If there was any doubt; look at the fellow designers who showed up: Donatella Versace (for whom he briefly designed Versus), Stefano Pilati, Courrèges ' Nicolas Di Felice, Glenn Martens, Silvia Fendi, Pierpaolo Piccioli, Daniel Roseberry, Christian Louboutin, Chitose Abe, Michael Rider, Julien Dossena, Chemena Kamali, and LVMH regulars or alumni – from Pharrell Williams to Kris Van Assche. Talk about designer gridlock. See catwalk The 40-year-old Northern Irishman takes over at Dior as an already acclaimed star. Having turned Loewe, LVMH's leading Spanish brand, into the hottest show in Paris this past half decade. Jonathan's choice of location respected tradition, seeing it was the same square where his immediate predecessor Kim Jones had staged his final show for Dior in January. There the similarity ended, with not a hint of Kim's style in sight. Though the set design did recall Anderson's debut show at Loewe, which featured precisely poured concrete blocks as seats. At Dior, the audience sat on precise plywood blocks, on a plywood floor, under a high ceiling entirely made of illuminated squares. Even since he began teasing on social media his new era at Dior, it's been a respectful homage to classicism. Just like this collection, even if he also managed to turn the whole codes upside down. Somewhat eccentrically, a pre-show French speaker recounted - at length - exact cuts, darts, shapes and fabrics of Dior looks, which turned out to be indie director and French heartthrob, Louis Garrel reading from the memoir "Dior and I". Garrel, whose mop-top hair appears to have been the inspiration for all the models' hairstyle, joined Louvre director Laurence Descartes, Roger Federer, Robert Pattinson, Daniel Craig and Rihanna, in the front row. In teases and in the show, Jonathan also played on Monsieur Dior's great affection for British taste with an opening Instagram post of a blue shirt fabric with a pin for Dior. Putting that online in mid-April six weeks before his appointment was official. Posting all manner of hints from a tape measure curled into a thimble to look like a snail on huge leaf, to an embroidered Louis XIV chair, he personally redesigned. Anderson – who will direct menswear, women's wear and couture at Dior - restored the house's dove gray logo, and replaced the all capital Dior, with just the "D" capitalized. Seen at the entrance to the huge show tent, over a giant illustration of Dior's neo-classical salon on Avenue Montaigne, which witnessed the birth of the house, and the legendary New Look on February 12, 1947. Which segued into two works of fine art – oil paintings by J.B.S. Chardin of a vase full of flowers, or a plate of raspberries – that hung inside the show. Both lent for the show by the Louvre, and much admired by LVMH CEO, and Anderson's ultimate boss, French billionaire, Bernard Arnault, who studied them carefully. As did Jonathan's proud parents, his rugby playing father and one-time captain of the Irish national rugby team Willie, and his elegant schoolteacher mum, Heather. See catwalk Post show, when asked his thoughts on the show, Arnault told 'It was, frankly, magnifique!' Though perhaps the most chatter this fashion sea change inspired was thanks to Anderson's idiosyncratic invitation – a ceramic white plate with three ceramic eggs. Like the solid stools, there was a sense of reassurance. Back when Jonathan was a teen growing up in the outskirts of the small town of Magherafelt in County Derry, his first teenage job was gathering eggs from a local farm. 'Next thing you know, we came back home and there was a sign, 'eggs for sale.' He as selling them. Jonathan has always been an incredibly hard worker. He puts his head down and never stops. But he is still the same person we knew when he left Northern Ireland. And we like that,' said his proud dad.
Yahoo
7 hours ago
- Entertainment
- Yahoo
Jonathan Anderson's Dior Man Is a Delight
"Hearst Magazines and Yahoo may earn commission or revenue on some items through these links." There's a new (new, new) look at Dior. After weeks of teasing glimpses, Jonathan Anderson has finally started to unveil his vision for the nearly 80-year-old fashion house. At Les Invalides in Paris, Anderson showed his debut collection for Dior men's and presented an entirely fresh vernacular for the global brand—one that delicately balanced the historical with the present while presenting lots of propositions for the future. The livestream began with videos of brand ambassadors traveling to the show. Lakeith Stanfield and Josh O'Connor chitchatted in the back of the cab, while Robert Pattinson leisurely strolled into an elevator. All of these guys were decked out in Anderson's new Dior, or perhaps it was less decked out and more dressed. Impossibly stylish, the clothes bend the arch between a dapper man and someone who's a bit of a scoundrel. Outside, Anderson collaborator and friend the director Luca Guadagnino was filming some of the recognizable guests who began to arrive, like Sam Nivola and Donatella Versace. Rihanna and A$AP Rocky were there. Sabrina Carpenter pulled up wearing an Anderson-ized version of Dior's New Look. Inside the venue, a nearly-empty gallery space had been built, punctuated only by light parquet floors and wooden blocks for seats. The walls were sparsely hung with still life paintings by Old Masters like Jean Siméon Chardin, whose work Monsieur Dior was fond of. Other than Versace, several more designers came out to support Anderson, including Pierpaolo Piccioli and Matthieu Blazy, both set to make their own debuts, at Balenciaga and Chanel respectively, this fall. The anticipation for this collection was high, to say the least. Once the first look hit the runway, it was clear just how much the hype had been warranted. Bang out of the gate, a hit: Anderson paired a Donegal tweed bar jacket with ballooning cargo shorts fastened with a pleated, cascading bustle at the back, a design loosely inspired by the mille-feuille dress silhouettes Monsieur Dior showed at the beginning of his career. Everything that followed painted a delightful, whip-smart portrait of the past infused with the present. Riffing off of ideas from his final womenswear collection for Loewe last year, Anderson wrote in the show notes that these pieces were meant to signify 'a reconstruction of formality' and celebrate the 'joy in the art of dressing: a spontaneous, empathetic collusion of then and now, of relics of the past things rediscovered in the archives, classic tropes of class, and pieces that have endured the test of time.' For any other designer, finding resonance with 'then and now' at a storied house might manifest itself as a re-issue. Anderson is one of the most important designers of his generation because he understands how not to do that. He makes things that are recognizable and ripped from history books and turns them into something we've never seen before. For Spring 2026, Anderson did this by crafting precise replicas of embroidered waistcoats and pairing them with white jeans and sneakers. Basic neckties were loose and worn flipped over to reveal Anderson's revamp of the Dior logo—a journey back to its roots when M. Dior, in his exacting way, would only settle for a French-style font. There were classic cravats and rococo-style micro-florals set against athletic socks and fisherman sandals. Anderson's new book totes were carried throughout the show, touting titles like Bonjour Tristesse and In Cold Blood—accessories for a hot dude who reads. The capes and maxi shirt-dresses added touches of Anderson's signature kookiness, abstracting and bending the idea of time even further. These men were dandy and regal, but also a little rough around the edges, the kind that Anderson has made into a bona fide style archetype over the last decade. No one else could, at least in this moment, make eighteenth-century wardrobe staples feel like they belonged with a pair of barrel leg jeans. Anderson imagines completely unimaginable wardrobes for those outside of the fashion sphere, for those who never thought a tie could be worn backwards or a pair of cargos could sashay. The biggest challenge of these gargantuan creative director jobs at luxury houses is being everything to everyone—being a creative director whose clothes, marketing, ambassadors, and accessories appeal to the classic brand loyalists, the high-net worth clients who want a logo splattered all over their bodies, and the kids who are looking for someone to tell them what's coming next. Anderson can imagine something for every luxury customer, and he has the vision to build new sartorial archetypes through instinctive design. He got a standing ovation of course, walking out with a shy swagger, the kind we'd just witnessed reverberate through the clothes he showed on the runway. This is the delight and the dream of Anderson. It was then, it is now, and it will be as he keeps moving ahead at Dior. You Might Also Like 4 Investment-Worthy Skincare Finds From Sephora The 17 Best Retinol Creams Worth Adding to Your Skin Care Routine
The Guardian
8 hours ago
- Entertainment
- The Guardian
Dior Paris show is sweet relief for anyone wanting to flex a cooler muscle
Even Anna Wintour can only be in one place at a time. And rather than Paris, where Jonathan Anderson made his Dior debut on Friday, the most powerful person in fashion was in Venice for the Bezos/Sánchez wedding shortly after relinquishing her role as editor-in-chief at American Vogue. But unlike the wedding of the year, Anderson's show proved to be sweet relief for anyone wanting to flex a cooler, chicer muscle. Perched on wooden cubes within the Cour du Dôme des Invalides sat plenty of VIP clout: Daniel Craig, Donatella Versace and Roger Federer. Most of the Arnault family, who own Dior and routinely joust with Jeff Bezos over who has more money, were present. Even Rihanna, pregnant in a Dior pastel waistcoat, was relatively punctual. Anderson is known for his sharp eye and crafty, mercurial taste – few people have shaped the red carpet and ultimately the high street into the hype machine it is today. But Dior is a different challenge. As the first creative director of menswear and womenswear since Christian Dior himself, the designer needs to revamp LVMH's second biggest brand, with estimated revenues far greater than at his former label, Loewe. 'I can't stand here and say I'm not nervous, that it is not petrifying,' he said backstage before the show, wearing his trademark Levi's and a plaid Dior shirt. 'Dior is on billboards. It's on Rihanna. It's transcendent. But this is the starting point – I've been here four months, and the first five shows will show different aspects. Some will contradict; others will be completely radical.' Some designers get critical acclaim, others sell a lot of clothes – a rare few have a talent to do both, but that's the hope with Anderson. Because of tariff wars and a decline in the luxury market, LVMH shares have halved from their 2023 peak. 'Delphine [Arnault] and I, we talked about changing the quality, about upping the game,' Anderson said. Opening the show was a bar jacket in Donegal tweed. More interested in how a look is put together than the clothes themselves, Anderson styled it with a pair of thick cream cargo shorts cut from 15 metres of fabric and layered up like a Viennetta. Knitted vests were a through line, as were ties and neck ruffles, and plenty of colour – greens, pinks and blues. Dior, he says, is a house of colour, in part because it offsets the 'house grey' that features on billboards, Dior clothes labels he redesigned and the Parisian sky. A puffer gilet was circularly cut and placed over a formal shirt, while summer coats and capes came knitted or in pleated bright colours. One was even based on an original Dior shape 'that would have cost the equivalent of a Ferrari', except here it was styled with trainers. There were even jeans – skinny and baggy, in indigo and green. The look was preppy and eccentric, with shades of Loewe, JW Anderson, and even Uniqlo in the puffers, among the classic Dior shapes. On Anderson's original moodboard were Warholian images of the artist Jean-Michel Basquiat and the socialite Lee Radziwill, alongside classic Dior dresses such as the Delft and Cigale. The idea was to take each look into the present, 'to recontextualise it', he said. He even took his predecessor Maria Grazia Chiuri's book bag totes and put a 'new skin' on them, in the form of Dracula and Les Liaisons Dangereuses. It's these hyperspecific references that give Anderson's work a pleasing temporality, and will no doubt sell well – here at Dior, and whatever high street shop will no doubt copy him. Sign up to Fashion Statement Style, with substance: what's really trending this week, a roundup of the best fashion journalism and your wardrobe dilemmas solved after newsletter promotion Anderson is the latest big name to arrive at an established brand. 'I'm not the only person going into a big house at the moment, but we need to let the dust settle,' he said, adding that he didn't 'want to chop it all down. It's just a continuation.' A great believer in the Jim Jarmusch approach to art – steal, adapt, borrow – he said: 'Ownership in fashion is devastating. Copy [in design] is what you do. Because there will always be someone after you.'
USA Today
8 hours ago
- Sport
- USA Today
Bengals great Willie Anderson saluted on NFL All Quarter Century team
Cincinnati Bengals legend Willie Anderson just missed the Hall of Fame (with a twist) this year. But Anderson continues to receive major honors for his fantastic career. Next up for Anderson is being highlighted on ESPN's Aaron Schatz and Seth Walder NFL All Quarter Century team effort: 'Even though our time span cuts off the first four seasons of Anderson's career, what he did in the nine years from 2000 on earns him a spot on this list. He played in 16 regular-season games every year from 2000 to 2006 with the Bengals.' RELATED: Bengals, Shemar Stewart nuclear option includes 2026 NFL draft route Anderson was a four-time All-Pro, among his other major honors. He was arguably the best right tackle of his generation and certainly played in an era where the importance of right tackles wasn't as widely as respected as their counterparts on the left. Little honors like this seem to keep hinting at Anderson getting a gold jacket sooner rather than later. RELATED: Bengals standouts after mandatory minicamp includes surprises
