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Business of Fashion
7 hours ago
- Entertainment
- Business of Fashion
Jonathan Anderson's Grunge Aristocracy at Dior
PARIS — The enormous tent constructed in the Place Vauban for Jonathan Anderson's debut at Dior was printed with a silvery evocation of the past, a monochrome image of Christian Dior's decorous couture salon. Fast forward to the present, 75 years later. That tent had been exhaustively climate-controlled to allow for the hanging of two paintings by Jean Siméon Chardin, the 18th century artist who is regarded as the master of the still life. He was a favourite of Dior's, Anderson's too. The Chardins were his idea. So was the inspiration for the showspace, clad in velvet like the Gemäldegalerie in Berlin, home to one of the finest collections of European art from the 13th to the 19th century. One Chardin came from the Louvre, the other from the National Gallery of Scotland. Reflect for a moment on the logistics involved in transporting monstrously valuable works of art to a tent packed with an unruly, heatstruck audience for one hour on a Friday afternoon in Paris and you'll maybe garner some notion of the political and financial power that a fashion conglomerate like LVMH, which owns Dior, now wields. Ah yes, the present. Dior Menswear Spring/Summer 2026. (Spotlight/ And the future? Well, for that single stretch of showtime, it rested in Anderson's hands. He's been cast as Dior's saviour in a challenging market — and is the first to oversee women's, men's and haute couture collections since Monsieur Dior himself first experimented with menswear. Unsurprisingly, Anderson has been soft-pedalling expectations. 'You have to, because no one gives anyone any time anymore,' he conceded at a preview earlier this week. In another exchange, he said, 'My idea is to be slightly optimistic, it's not going to happen overnight. We have to be realistic today.' But his attempt at lowering the temperature was clearly unsuccessful. His audience was littered with pop stars, movie stars and a full platoon of fashion peers, many of whom were on their feet at show's end. Dior Menswear Spring/Summer 2026. (Spotlight/ Anderson was insistent that Dior was something alien to him. 'It's not a character that I know.' But that's what seduced him. 'It's like buying a chateau in the South of France that you saw on a website, a very British thing to do. It's beautiful, but it needs so much renovation. You have to start somewhere, and as you go, you realise, 'Wow! It's amazing what they did in the 18th century with door handles,' and then you find the next thing and the next thing.' And those 'next things' were the years of input from all the designers who have worked for Dior over the decades. To isolate the most striking carryover from the past in Anderson's debut collection: Maria Grazia Chiuri's wildly successful book tote reappears rendered as the covers of specific titles, In Cold Blood, Bonjour Tristesse, and, luridly best of all, Dracula. ('Because it's Irish,' he said archly.) He compared the learning process to doing a PhD in Dior. What did he come away with? 'I feel the name is bigger than the individual designer. It was always like that. So that was the whole idea for me.' Dior Menswear Spring/Summer 2026. (Spotlight/ There will undoubtedly be plenty of people who look at what Anderson showed on Friday and question his concept of permanence. 'My idea was to decode it to recode it,' he explained, sort of. 'That's how the collection was built.' Take the first look, practically a manifesto in one outfit. 'How I feel I'm going to tackle men,' Anderson declared. 'Formality, history, the material, Irishness.' The cargo shorts were panniered with the extravagant folds of the Delft dress from 1948, originally carved from 15 metres of duchesse satin, duplicated for today in undyed denim. The jacket featured the classic Bar silhouette, cut here from Donegal tweed. The model sported a formal stock tie. 'An English stock,' Anderson explained, 'the French is looser. I like the idea of something that makes you lift your head up. There's an etherealness to the formality.' The shoes were based on the sandals he wore to school in the summer. In other words, a weird but winning fusion which spanned the decades between the Frenchman and the Irishman. Dior Menswear Spring/Summer 2026. (Spotlight/ 'For me, it's about a quiet radicalism,' Anderson said. 'For the customer, this is already going to be something that is pretty wild, but in my head, it's normal.' Why is it easy for me to imagine Christian Dior saying something similar 75 years ago? And if my proposed compatibility still seems like a bridge too far, there's their shared obsession with the 18th century. 'I got the guy who's been sourcing things for me for years to find me the best 18th century menswear, and then we meticulously recreated it. There was no point in changing the fit. When I saw it, I thought, 'That's Dior. Let's just put it up there as a thing.'' Like his own version of Martin Margiela's 'Replications' which he loved so much when he was starting out in fashion. Rebecca Mead's profile in the New Yorker earlier this year quoted Anderson saying this: 'Authenticity is invaluable. Originality is nonexistent. Steal, adapt, borrow. It doesn't matter where one takes things from. It's where one takes them to.' So Anderson showed his delicately toned, edibly alluring duplication of the jacket and waistcoat from an aristocrat's summer day look for the court of Louis XV with a dress shirt, black jeans and unlaced Dior trainers. Dior Menswear Spring/Summer 2026. (Spotlight/ Like that first look, it was a provocative encapsulation of the idea of personal style, or how you put things together to express yourself. A midnight blue velvet tail coat over chambray jeans, for instance. Or a delicately frogged white shirt over white jeans. Artistry and calculated artlessness, all of it set to a sensational Frederic Sanchez soundtrack that swung from Springsteen to Little Simz. Velvet, denim, sandals and a stock tie – 'I would love to be able to wear that,' Anderson said. 'Every time I've done a menswear show, I've always wanted to be able to do something I would love to be able to pull off. For me this is a fantasy, because it has to be. I find each person in the show equally attractive because I think they embody the 'thing.' I believe it, and if I believe it, then I want to dress like it.' Fashion as an act of faith: Anderson mastered that challenge at Loewe, and, if early reactions are any indication, he'll be able to translate that mastery to Dior. Dior Menswear Spring/Summer 2026. (Spotlight/ Finding the future in the past is not a particularly novel concept, but if I think for a moment that everything Anderson has done is almost like a movie, it clarifies how he was able to draw such an extraordinary cast of characters to Loewe and his own brand. One of them, director and frequent collaborator Luca Guadagnino, has been tracking him all week with a film crew. The designer talked about the looks in the show that were pure youthful street as his acknowledgement of Jean-Luc Godard and the nouvelle vague that transformed French cinema and French style, from New Look to New Wave. Anderson said it's also about him getting used to living in Paris, trying to work out what he loves about the city. 'I'm on Île Saint-Louis and there's something about this idea of tight grey corridors that have light at the end. No matter when you see people, they're always backlit. And everything looks great backlit. I find it fascinating because it feels like cinema somehow, and really that is how we approached the challenge.' Dior Menswear Spring/Summer 2026. (Spotlight/ The city is currently plastered with posters of artist Jean-Michel Basquiat and footballer Kylian Mbappé, the faces of the new Dior man (or, as Anderson says of Mbappé, 'a new vision of France'). 'I have to find a new language,' Anderson said. 'It's going to take time, and I don't want to be rushed. Anything is possible. At the end of the day, it's a job. And you always have to remind yourself that you love the work and you're gonna get the job done.' Consider this debut a great appetiser for the much more complicated meal to come. Dior Menswear Spring/Summer 2026 Dior Menswear Spring/Summer 2026 look 1. 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Yahoo
23-05-2025
- Entertainment
- Yahoo
In ‘Bonjour Tristesse,' Fashion Is a Main Character
PARIS — Forget about Charli XCX: This year's summer style icon might just be Jean Seberg. The U.S. actress with the pixie haircut is back in the spotlight thanks to two films: Richard Linklater's 'Nouvelle Vague,' which premiered at the Cannes Film Festival, and 'Bonjour Tristesse,' a new adaptation of French author Françoise Sagan's seminal coming-of-age novel. More from WWD Bethann Hardison Launches Foundation to Advance Young Talent Chanel and Tribeca Festival Announce 2025 Artist Awards Program Fondazione Prada Introduces 1.5 Million-euro Film Fund While Zoey Deutch plays Seberg in Linklater's black-and-white ode to the birth of French New Wave cinema, rising actress Lily McInerny reprises one of Seberg's most famous roles in the remake of 'Bonjour Tristesse,' which marks the feature film debut of Canadian writer and director Durga Chew-Bose. Seberg, who died in 1979 at the age of 40, played the lead character Cécile in Otto Preminger's 1958 adaptation of the book — a stylish affair that featured gowns by Givenchy, jewels by Cartier and accessories from Hermès. McInerny said she didn't see the original movie until after shooting was over. 'That was an intentional choice, so as not to even subconsciously try to mimic her incredible origination of Cécile,' she told WWD in an interview. 'Our films differ in many ways. Durga is truly a writer in her own world. She's working with the original text of the novel. She herself is very intentionally not trying to recreate anything that Preminger touched, so we both are big fans of the film and appreciate it very much, but they're very distinct in their styles,' she said. Watching Seberg navigate the plot, which chronicles the destructive behavior of a free-spirited 17-year-old and her playboy father, proved intense for the 26-year-old actress. 'I felt very emotional, and I felt very attached, and I felt very close to Jean Seberg in that moment, and it was almost like watching a distant relative or a friend I knew, or a weird sort of dream of myself,' McInerny mused. 'To have that connection with someone so glowing and untouchable as Jean Seberg, it was so cool.' For costume designer Miyako Bellizzi, the project was an excuse to indulge in her passion for period films and vintage fashion, which influenced the overall look of the film. 'I collect '30s, '40s, '50s clothes just in general. I have an archive of it all,' said Bellizzi, who was working concurrently on 'Marty Supreme,' which has garnered advance buzz for the '50s-era costumes she designed for stars Timothée Chalamet and Gwyneth Paltrow. 'From the very beginning, Durga and I always spoke about how we miss the beauty of old films and how, in a lot of more classic films, the way that costume design was approached was different to how it is now,' Bellizzi said, citing the work of legendary costume designers like Adrian and Edith Head. 'I mourn films that have good taste in clothing. It's one of my biggest pet peeves in contemporary films,' she added. 'I really wanted to showcase that, you know, bring it back.' The fact that one of the main characters in 'Bonjour Tristesse' is a fashion designer was the icing on the cake. Chloë Sevigny plays Anne, whose arrival at the family's holiday villa on the French Riviera sets in motion a deadly cycle of jealousy and retribution. Known for her work on movies including 'Good Time' and 'Uncut Gems,' Bellizzi relished the change of register. 'Most of my films are very male-heavy, and this is the first time I've had three women and it's so fashion-forward,' she said of working with McInerny, Sevigny and Nailia Harzoune, who plays Elsa, the father's girlfriend. Infused with a strong design sensibility, the film is a fashionista's delight as it revels in obscure references, rather than the splashy resortwear that is often the default wardrobe option for films and series set against a Mediterranean backdrop. 'We could do the 'White Lotus' of the south of France,' said Bellizzi, adding that the idea was discarded in favor of something more timeless. 'I wanted it to just be super classic.' She used Renaissance Renaissance, the Lebanese label founded by Cynthia Merhej that has twice reached the semifinals of the LVMH Prize, as the stand-in for Anne's fashion label. Sevigny wears several looks by the brand, in addition to vintage Yohji Yamamoto and Jean Paul Gaultier, and accessories by Sophie Buhai. Merhej also designed a key look for McInerny: a '50s-inspired pouf dress that symbolizes Cécile's transition from tomboy to ingenue. But a lot of her clothes in the film are authentically vintage: Bellizzi and McInerny got an early start on wardrobe prep by scouring secondhand stores in New York City. 'She lives down the street from me, so I'd be, like, 'Hey, let's go shop,'' Bellizzi recounted. 'She's so tiny that all the greatest, coolest vintage pieces fit her like a glove.' That includes a yellow swimsuit that was a nod to the one worn by Seberg in the original film. McInerny spends much of her time on screen in bathing suits and bikinis, but said she didn't feel self-conscious. 'That was never a hesitation for me,' she said. 'Stepping away from the film, I was like, 'Was I too covered up?' Because we're on the beaches of France, it's quite common to be topless.' Part of her confidence came from the fact that she's known Chew-Bose since she was a child. Part of it was knowing that Bellizzi had her back. 'Miyako really prioritizes an actor's comfort and confidence in the clothes that she's dressing you in. It goes a really long way in terms of our performance,' she said, adding that it's important to surrender personal hangups. 'Understanding your character thoroughly, you'll also understand what makes them feel confident and what makes them feel attractive, and that might be different from what you yourself would [wear] in your daily life,' she added. On the red carpet, McInerny has developed a close relationship with Celine since making her big screen debut in 2022 in the indie drama 'Palm Trees and Power Lines.' She collaborated with the French brand on her look for the 'Bonjour Tristesse' premiere at the Toronto International Film Festival. 'I came to them with an image from the original Preminger film of Jean Seberg in this classic black party dress. It was one of my favorite costumes from the original film,' she recalled. 'To have anything custom designed for me would be a dream come true, let alone something so intimate and closely attached to this project so dear to me, and they came back to me in a couple of weeks with this gorgeous sketch of the dress that I ultimately wore to our debut,' McInerny said. She noted that Zouzou, former creative director Hedi Slimane's final fragrance for Celine, was billed as an homage to Sagan and Seberg. 'It felt very organic and meaningful to know that everyone behind the scenes and beyond was as passionate about the history we were stepping into,' the actress said. 'That's our greatest hope, that it transports you to an era of style and film that sometimes gets overlooked these days.' Launch Gallery: How 'Bonjour Tristesse' Channels Jean Seberg's Enduring Style Inspiration for Summer 2025 Best of WWD Celebrity Style at Coachella Through the Years: Taylor Swift, Amy Winehouse and More [PHOTOS] From John Galliano to Paul Smith, Designers Who've Created Christmas Trees at Claridge's The Most Over-the-top Hats From the Royal Ascot Races Through the Years
Boston Globe
21-05-2025
- Entertainment
- Boston Globe
Major newspapers ran a summer reading list. AI made up its book titles.
Advertisement Many pointed out quotes attributed to experts and professors who don't seem to exist, or at least don't have a significant online presence. Similarly, some pieces in the package featured quotes that social media sleuths said could not be found online — such as one from Brianna Madia, the author of a van-life book called 'Nowhere for Very Long,' talking about hammock culture to Outside Magazine in 2023. Interviews she did with the magazine in 2019 and 2017 did not feature any discussion on hammocks, and she does not appear in any of the magazine's 2023 stories online. The section's 'Summer reading list for 2025' recommended not only fake books such as 'Tidewater Dreams' by Isabel Allende and 'The Last Algorithm' by Andy Weir, but also imaginary titles from authors Brit Bennett, Taylor Jenkins Reid, Min Jin Lee, and Rebecca Makkai. (The list does feature some real books, including Françoise Sagan's 'Bonjour Tristesse' and André Aciman's 'Call Me by Your Name.') Advertisement 'It is unacceptable for any content we provide to our readers to be inaccurate. We value our readers' trust in our reporting and take this very seriously,' Victor Lim, senior director of audience development for Chicago Public Media, said in a statement. 'We've historically relied on content partners for this information, but given recent developments, it's clear we must actively evaluate new processes and partnerships to ensure we continue meeting the full range of our readers' needs,' he added. Lisa Hughes, the publisher and CEO of the Philadelphia Inquirer, said the special section was removed from the e-edition after the discovery was made. 'Using artificial intelligence to produce content, as was apparently the case with some of the Heat Index material, is a violation of our own internal policies and a serious breach,' she said in a statement to The Washington Post. Much of the content for the section was written by Marco Buscaglia, a Chicago-based freelance writer who used AI chatbots during the writing process, he told The Post in an interview Tuesday. Buscaglia said the insert, which he began writing in February with a March deadline, wasn't written with any specific cities in mind, and he didn't know which newspapers would run it. Buscaglia said there was 'no excuse' for not double-checking his work. When he started writing the recommended books list, Buscaglia said, he considered looking at Goodreads or calling local bookstores for recommendations. But instead, he asked AI chatbots for help. (Buscaglia said he was unsure which chatbot he used, though he said it was either ChatGPT or Claude.) Advertisement 'I'm very responsible about it. I do check things out, but in this case, I mean, I totally missed it,' he said about using AI in his reporting. 'I feel like, if given the opportunity, I would approach these things differently and have a lot, you know, obviously better set of filters.' 'I do feel that it also misrepresents the Sun-Times, the Philadelphia Inquirer,' he said, adding: 'I feel bad about that, too - that the papers somehow [get] associated with that.' The misstep comes as the media industry wrestles with the advent of AI. Large language models and AI chatbots don't always search the web for information, relying on preinstalled knowledge, which can lead them to spit out incorrect or misleading information. Critics have said that newspapers that use AI tools risk exposing readers to low-quality reporting and misinformation, contributing to a rising mistrust of journalism.
Axios
20-05-2025
- Entertainment
- Axios
Philadelphia Inquirer prints summer reading list full of AI-generated fake titles
The Philadelphia Inquirer last week published a "summer reading list for 2025" that included multiple nonexistent titles by real authors, and was partially produced by AI. The big picture: The list, which ran in a print supplement, also appeared in the Chicago Sun-Times, causing a stir on social media as journalists worry about AI-generated material replacing human-made content. The Inquirer confirmed to Axios that the supplement contained material generated by AI, which the newspaper's publisher and CEO, Lisa Hughes, says is "a violation of our own internal policies and a serious breach." Hughes says the newsroom was not involved in producing the supplement. Between the lines: Today's AI models continue to make up things in ways that AI makers still haven't figured out how to detect or stop, and human users keep failing to check their output. Case in point: The first item on the list is a novel by the "beloved Chilean American author" Isabel Allende titled "Tidewater Dreams." Allende is real, but "Tidewater Dreams" — ostensibly a "climate fiction novel" that "explores how one family confronts rising seas levels while uncovering long-buried secrets" — doesn't exist. You have to read down the list of 15 titles to the 11th entry before you hit a real book (Françoise Sagan's 1954 novel, "Bonjour Tristesse"). Zoom in: The article was part of Heat Index, a 56-page summer guide supplement published May 15. It appeared before an ad for the Inquirer that exhorts readers to "Unsubscribe from 'traffic, parking, boardwalk cuisine… yay!' Subscribe to keeping everything beachy." It was also posted on the paper's online edition and has since been removed. King Features designed and produced the material in the supplement, and the Inquirer has been receiving syndicated materials from King for decades, Hughes tells Axios. How it happened: Chicago-based freelance writer Marco Buscaglia has since admitted to 404 Media to using AI to write the piece without fact-checking it.
Axios
20-05-2025
- Entertainment
- Axios
Sun-Times fallout: Fake book list raises red flags over AI
The Sun-Times is feeling the heat after it printed a summer reading list Sunday, citing multiple non-existent titles by real authors — which was partially produced by AI. Why it matters: The scandal comes on the heels of a 20% cut to the editorial staff at the paper and as journalists worry about AI-generated material replacing human-made content. Also, AI models continue to make things up in ways that AI makers haven't figured out how to detect or stop, and human users keep failing to check their output. Case in point: The very first item on the list is a novel by the "beloved Chilean American author" Isabel Allende titled "Tidewater Dreams." Allende is real but "Tidewater Dreams" — ostensibly a "climate fiction novel" that "explores how one family confronts rising seas levels while uncovering long-buried secrets" — doesn't exist. You have to read down the list of 15 titles to the 11th entry before you hit a real book (Françoise Sagan's 1954 "Bonjour Tristesse"). What they're saying: The Sun-Times was quick to distance itself from the insert. "This is licensed content that was not created by, or approved by, the Sun-Times newsroom, but it is unacceptable for any content we provide to our readers to be inaccurate," CPM spokesperson Victor Lim tells Axios. "We value our readers' trust in our reporting and take this very seriously." Yes, but: While licensed and syndicated content is normal for newspapers, it is usually marked as such. This article looks like it was part of an advertising or advertorial supplement, but the section's cover simply reads "Chicago Sun-Times — Heat Index — Your guide to the best of summer." The insert also appeared in the Philadelphia Inquirer, which also touted the licensed content as its own. What happened: The Sun-Times says it licensed the content from King Features, a unit of Hearst, which claims to be the world's largest lifestyle publisher. In an interview with 404 Magazine, Chicago-based writer Marco Buscaglia takes the blame for using AI to source the list and not fact-check. "I can't believe I missed it because it's so obvious. No excuses," Buscaglia said to 404. "I'm completely embarrassed." Zoom out:"It's always been perilous when a news outlet presents material that it didn't produce on its own," former Tribune metro editor and writer of the Stop the Presses newsletter Mark Jacob tells Axios. "AI has supercharged the danger since it's so easy for lazy and sloppy people to create bad content." "What should legitimate media learn from this?" Jacob asks. "Hire trusted human beings to produce content, and carefully review any content that's going out under your brand." The Sun-Times Guild was swift in its condemnation of the paper's gaffe. "We're deeply disturbed that AI-generated content was printed alongside our work," the union said in a statement. "Our members go to great lengths to build trust with our sources and communities and are horrified by this slop syndication." "We call on Chicago Public Media management to do everything it can to prevent repeating this disaster in the future." Flashback: This isn't the first time newspapers have had issues with licensed content. In 2012, the Chicago Tribune and the Sun-Times ended their use of content produced by Journatic, a company that was accused of using fake bylines and plagiarism. When tech entrepreneur Michael Ferro took over the Tribune in 2016, he said he wanted to push the paper to use "big data and artificial intelligence" to make the paper profitable. Ferro orchestrated a wave of layoffs to make the paper more digitally focused before resigning two years later. The intrigue: The summer reading list only appears in print. It ran opposite a house ad for the Sun-Times that exhorts readers to "Donate your old car and fund the news you rely on." The bottom line: For the Sun-Times, the fallout from the error could have lasting implications now that the paper has switched to a nonprofit model that counts on reader donations.
