Latest news with #KarlLagerfeld
The National
12 hours ago
- Entertainment
- The National
Kolhapuri chappals are now high fashion, but here's how I get real ones for a song
India's rich culture has inspired many international fashion brands over the decades. Hermes, Saint Laurent and, more recently, Gucci have all created their version of the sari. The late Karl Lagerfeld showcased pieces reminiscent of the bandhgala kurta for Chanel's autumn 2012 collection, while Jimmy Choo and Christian Louboutin footwear have featured Indian-inspired embroidery over the years. Several brands have also taken popular ethnic garments such as dupattas, Nehru jackets and turbans, and fused it with their designs. This week, as part of its spring/summer 2026 show in Milan, Prada sent out footwear that resembles the humble Kolhapuri chappal, a handcrafted tan-coloured leather sandal that can be found in almost every Indian home – and a style I have been wearing since I can remember. Kolhapuri chappals are believed to have originated around the 13th century in the city of Kolhapur in Maharashtra, where artisans and cobblers made them by hand – from cutting and shaping the cowhide leather and stitching all the pieces together, to adding colour using vegetable dyes. Known by different names across India, including paytaan and kachkadi, these sturdy sandals are an everyday staple for both men and women. The versatile style, from the classic tan and dark brown designs to ones with colourful straps, pairs well with both Indian and non-Indian outfits. They are also comfortable to wear and walk around in all day – just maybe not during the monsoons. Gold and silver-strapped versions can be worn during Diwali and on other special occasions, while colourful Kolhapuris add a fun touch to daywear, depending on your mood. Some brands also make Kolhapuris with wedge heels. I still buy handmade pieces from markets on my visits back home, such as in Old Delhi, a must-visit if a trip to India is on the cards. A plain pair costs about 800 to 1,000 rupees (up to Dh42), while an ornate pair will set you back about 1,500-1,800 rupees (up to Dh77). One of my favourite places to buy handmade Kolhapuris is Dilli Haat, in the heart of New Delhi. Here, you can find footwear with sequins and embroidery – at a fraction of the price usually charged by branded stores. While they are traditionally crafted in light tan, a pair can be made as dark as you want as the artisans add dye to it on the spot. I have also discovered other brands that have added a modern spin to this classic chappal with detailed embroidery and ornate embellishments. There are bright, fun and colourful pairs, often featuring varying colours for the sole and strap that offer a nice contrast to all the black clothes I like to wear. Many of these brands also work directly with craftswomen in villages and ship internationally, including to the UAE, with prices starting at about 3,000 rupees (Dh128). Prices for Prada's "version" have not been revealed yet, but the brand's men's sandals are typically priced from Dh3,000. While a luxury purchase often represents feel-good indulgence, for something that takes inspiration from an ancient handicraft, perhaps it's better to support artisans who have been keeping these traditions alive for hundreds of years.
Telegraph
13 hours ago
- Entertainment
- Telegraph
‘Even Paris taxi drivers have opinions on Dior': Jonathan Anderson makes his debut
For someone making his debut on the world stage in the biggest job in fashion, embarking on a volume of work that's almost unheard of, 40-year-old Irishman Jonathan Anderson was cheerfully relaxed on the morning of his inaugural men's show at Dior. In the citadel of a show venue that Dior has installed against the gold-gilt majesty of the Hôtel des Invalides, he swerves a van that's offloading provisions and swings open its doors unexpectedly, threatening to fell Dior's new all-powerful creative director before he's even begun. 'That wouldn't have been a great start,' he jokes. Then it's down to business curating the biggest moment of his life so far. Anderson's been up until dawn – a celebrity fitting with a star renowned for her elastic take on time (we wager Rihanna, who was front row at the show) – but he's fizzing with energy about this momentous day. It's certainly seismic in terms of fashion. In February, he was announced as the new creative head of Dior Men, later confirming that he would take over not just the menswear but the women's ready-to-wear, couture, resort collections and accessories. That might sound standard, but it's not – houses traditionally split the workload of the two, and Dior is a French national treasure with the output to match. No designer has worked at this prolific level since Karl Lagerfeld, who famously split his time between Chanel, designing for Fendi, and his own line. Anderson's aware of what has gone before: John Galliano's infamous departure from the house following an anti-Semitic rant, which he later claimed was the result of a substance abuse-fuelled, cataclysmic burnout. But if he has butterflies at the task ahead, he's not showing it. 'I can't say that I'm not nervous or I'm not petrified – this is Dior and we are in France after all – but I'm really focusing on trying to enjoy it. I'm relaxed, I'm ready,' he says. You'd be forgiven for having not heard of Anderson before, but in fashion terms he's revered. After starting his own namesake label in London, a tenure at Spanish house Loewe, owned by Bernard Arnault-run parent house LVMH duly followed in 2014. It resulted in a full Loewe-vication of fashion, creating a greatest hits seller of an accessory (a must at LVMH) in terms of the Puzzle bag and enlisting a constellation of artists, craft collaborations and stars, including the most recent ad campaign with Daniel Craig. The bosses were watching – the Succession -like brood that is the Arnaults – and towards the end of 2024 rumours swirled that Delphine Arnault, daughter of the founder, and Dior CEO, was planning to chopper him into the house, replacing men's creative head Kim Jones and womenswear designer Maria Grazia Chiuri. All caught up? A plucky Irish fellow (the son of former Irish rugby captain Willie Anderson), with the lilting accent to match, taking over the most storied and romantic of couture houses in Paris made for quite the fashion fairy tale. Anderson began as a London menswear designer talent, so it was kismet that his first collection would be a men's one. 'I had the idea of this gang of guys, a little bit Sorbonne, a little bit Jean-Luc Godard. I wanted formality, a take on history and mixing it with a kind of personal style,' comments Anderson of the collection, which mixed historic references such as the Court of Versailles with traditional Donegal tweed, sculpted into his own riff on the iconic Dior Bar jacket, the shape that became a signature of the house in 1947. 'It was important to open the show with Donegal tweed; I'm Irish obviously, and Dior used it in his first two collections,' he explains. 'Then I paired it with these ballooning cotton drill cargo trousers that use 15 metres of fabric folded like layers of cake in squares.' The trousers, coincidentally, were inspired by the folds in Dior's 1948 Delft dress. 'An incredible work of engineering,' says Anderson; the trousers have the appearance of panniers for men. Other elements in the collection subtly reference Dior's original emblems and signatures for the most feminine of couture houses; roses worked into woven embroidery in waistcoats that nod to Louis XIV rococo pomp, embroidered on knits, balanced with rougher pieces such as heavy wool coats and undone trainers. Jeans slung on hips, worn with moccasins, contrasted with very formal black tie with plumes of silk bows and collars at the neck, perhaps more of a styling flex rather than reality dressing. Military frock coats with frogging and epaulettes were juxtaposed with fisherman sandals ('It's that sense of savoir faire but grounded in today's world,' says Anderson). The Bar jacket interpretation was an interesting proposal for men; sculptural but still lean on the body. Anderson has spoken about his love of Dracula – he's used the cover for the novel and printed it on Dior's book bag; perhaps there was something of the Count in the knitted capes. 'I collect men's fashion pieces from the 18th century and you can find radical clothing from that time in terms of fabrication and colour,' says Anderson. 'There's modernity with the old. It's about not being scared of the past. History maketh the brand.' And profits maketh the LVMH designer, which is why Anderson has focused on the iconic Lady Dior bag – the distinctive, quilted bag that Princess Diana helped put on the map – has been rendered anew by artist Sheila Hicks, with upholstery tassels (artist collaboration being something of an Anderson hallmark). Within the venue space, two 18th-century paintings by Chardin were displayed (on loan). These are favourites of Anderson's and lent a curated, gallery feel rather than thrumming, full-throttle show experience like those of old. The more opulent elements – a severe coat in metallic gold thread, woven capes, those embroidered waistcoats and frou-frou blouses – were countered by loveworn denim jeans, slouching knitwear and jolts of electric colour. Grey was a theme, being a hallmark of the house; 'it gives this incredible depth of colour,' explains Anderson, and a classic grey flannel suit closed the show. The groundswell of support from designers front row, including Donatella Versace, Pierpaolo Picciolo, Silvia Fendi, Pharrell Williams, proved the point that Anderson is a designer's designer. The collection was nuanced in its stories and various themes, telling variants of the Dior mythology, and while the subversive quirkiness that worked at Loewe was dialled way back, that feels correct at Dior. It's a house that's more formal and mannered, and the eveningwear with silk neck scarves or bows were chic without being peacock. The weight of history is palpable; only a rarefied handful of designers have occupied a position like this. But Anderson is quietly methodical and ambitious; he's got the rollout of each new collection meticulously planned. 'There are five shows to come [in the next year], where each will show different aspects of the house, some will contradict it, some will go along with it, some will be radical. To me it's about establishing a language,' he says. It's quite a legacy to inherit, from Monsieur Dior to Galliano, and the other designers who created their own interpretation of the house. 'I looked at everyone. Hedi [Slimane], Raf [Simons], Marc Bohan, John [Galliano],' says Anderson. 'My approach is that you have to de-code to re-code Dior. Some of the greatest designers in history have worked here and it's not about chopping it all down, it's about rebirth within itself. It's bigger than me, it transcends this moment.'
Yahoo
2 days ago
- Business
- Yahoo
Taraf awards contract to Pinnacle International for villa project in Dubai
Yas Holding subsidiary Taraf has appointed Pinnacle International Piling Foundations as the enabling contractor for its Karl Lagerfeld Villas project in Dubai, United Arab Emirates. This project, located in Meydan, Mohammed Bin Rashid City, is part of Dubai's luxury real-estate sector and addresses the rising demand for ultra-premium residences. Scheduled for completion in 2027, the development will comprise 51 villas ranging from five to seven bedrooms. The villas will feature private gardens, bespoke interiors, and access to the clubhouse. They will overlook the Crystal Lagoon, offering views of Downtown Dubai. Taraf CEO Mohamed Eldahan said: 'Our partnership with Pinnacle International marks a pivotal milestone in turning the Karl Lagerfeld Villas into reality. 'These villas are more than a residence; they embody elegance, creativity, and architectural integrity, infused with the legacy and unmistakable signature of Karl Lagerfeld. This development reflects our unwavering commitment to excellence, while reinforcing Dubai's global stature as a premier destination for luxury living and investment.' The villas will incorporate a central catwalk that culminates in a circular sunken lounge. Additionally, a feature waterfall edge pool will mark the end of the walk. Pinnacle International geotechnical director Rahul Sai said: 'We're excited to bring our expertise to such a visionary project. Meydan's landscape demands precision and innovation, qualities that align perfectly with Pinnacle's approach to delivering resilient foundations.' In 2023, Taraf broke ground on its new residential development on the island of Palm Jumeirah in Dubai. By that time, Asasat Aldhafra APCC had commenced enabling works for the development. "Taraf awards contract to Pinnacle International for villa project in Dubai" was originally created and published by World Construction Network, a GlobalData owned brand. The information on this site has been included in good faith for general informational purposes only. It is not intended to amount to advice on which you should rely, and we give no representation, warranty or guarantee, whether express or implied as to its accuracy or completeness. You must obtain professional or specialist advice before taking, or refraining from, any action on the basis of the content on our site.
The National
4 days ago
- Entertainment
- The National
Chanel celebrates 25th anniversary of J12 watch with new marvel carved from lab-grown sapphire
'I dreamt of giving a colour to black, of illuminating it with blue,' says Arnaud Chastaingt, director of the Chanel Watch Creation Studio. 'I wanted a blue that possesses a rigorous elegance – a blue that is nearly black, or a black that is almost blue.' To celebrate the 25th anniversary of its bestselling ceramic watch, Chanel unveiled a striking new piece that delivers on Chastaingt's dream: the J12 Bleu. In a matte shade of midnight, the Bleu is the result of five years of meticulous development – a process that reflects not only Chanel's obsession with colour, but also its quiet mastery of modern horology. Blue, of course, is fundamental to Chanel's visual language – a nod to Gabrielle Chanel 's love of maritime style. Yet, developing a tone that satisfied the house's exacting standards was no small feat, with Chastaingt describing its discovery as 'an epiphany'. More than half a century after her death, Gabrielle 'Coco' Chanel remains fashion's consummate rule-breaker, having established codes that still feel fresh today. From the little black dress to the tweed suit, she placed comfort alongside elegance. Her two-tone shoes, quilted handbags and ropes of pearls remain cornerstones of style. Even Chanel No 5 – launched in 1921 – still dominates global fragrance sales, a testament to its revolutionary formula. Chanel's styles were later distilled and reinterpreted by Karl Lagerfeld, who gave them new life across decades of creative direction. Alongside him, Jacques Helleu – artistic director for Chanel's jewellery, watches, beauty and fragrance – pushed these same codes into a new realm: timekeeping. In 1987, he unveiled Chanel's first watch, the Premiere, with a case shaped like the No 5 stopper and a bracelet threaded with leather like the brand's iconic bags. A decade later, Helleu began sketching a unisex sports watch – a daring move for a house so focused on women. The result was the J12. Crafted from high-tech ceramic, it was lightweight, scratch-resistant and quietly radical. Launched in 1999 in a sleek black finish, the J12 felt like a new language for Chanel – clean, powerful and androgynous. Its name came from the J-class racing yachts of the America's Cup, while its 38 millimetre profile and bold silhouette signalled a shift towards genderless, fashion-forward watchmaking. In 2002, a 41mm chronograph was added, followed by an all-white quartz version in 2003, expanding the range while maintaining its sleek identity. Then came the innovation. In 2005, Chanel introduced the 41mm Superleggera Chronograph, blending black ceramic and anodised aluminium for a watch that was 20 per cent lighter. In 2008, Chanel collaborated with Audemars Piguet on the H2918, a 42mm model in black ceramic with yellow gold accents. That same year, Chanel released the J12 Noir Intense, set with 724 baguette-cut black ceramic stones in white gold, a feat that took more than 200 hours to complete and was limited to only five pieces. In 2010, the brand turned to respected independent watchmakers Renaud et Papi for the Retrograde Mysterieuse. At 47mm and made of white gold and ceramic, it included a retrograde display, tourbillon and retractable crown. The following year, Chanel unveiled the Chromatic in titanium ceramic, while 2013 brought the Moonphase model, with its aventurine moon disc and poetic complication. By 2014, Chanel pushed further into haute horlogerie with the Comeete Flying Tourbillon and the J12 G10, the latter nodding to military watch straps but rendered in titanium and alligator leather. The 20th anniversary in 2020 was marked by the diamond-set J12 X-Ray, which was cut almost entirely from transparent sapphire crystal – even the bracelet was hewn, link by link, from raw sapphire. The 2023 J12 Eclipse box set added a new layer of conceptual brilliance. Comprising seven watches arranged to mirror the phases of a solar eclipse, the collection played with black and white ceramic in configurations that felt as much like sculpture as watchmaking. Only one set was made – and was quickly snapped up by a private collector. Now, in 2025, the J12 marks its silver jubilee with the J12 Bleu X-Ray. A study in transparency and light, the watch is hewn from a single block of lab-grown sapphire – a process that takes more than 1,600 hours. It features 196 baguette-cut blue sapphires encircling the bezel and bracelet, with an additional 12 as hour markers. Inside, a floating movement is suspended on clear sapphire bridges, adding a near-mystical quality to its precision engineering. Of course, none of this would be possible without the technical infrastructure behind the design. In 1993, Chanel acquired G&F Chatelain, a watchmaking facility located in La Chaux-de-Fonds, placing artisanal expertise at the heart of the operation. Strategic investments in brands such as Bell & Ross, Romain Gauthier, F P Journe and MB&F have only deepened that horological credibility. As Chastaingt puts it, ceramic – once viewed as niche – has become precious. 'In the course of 25 years, Chanel has elevated ceramic to the level of a precious material,' he says. 'It is an inspiring material that offers a vast creative playing field.' The new J12 Bleu is both tribute and evolution – a continuation of a legacy and a testament to Chanel's instinct for defying convention. It's not only a watch. It's Chanel's past, present and future, rendered in sapphire blue.
Grazia USA
19-06-2025
- Entertainment
- Grazia USA
Keke Palmer Serves 90s It-Girl in Archival Chanel Set
Keke Palmer is seen in SoHo on June 17, 2025 in New York City. (Photo by TheStewartofNY/GC Images) In the midst of a Y2K cultural boom, Keke Palmer stepped out in New York City this week channelling her inner 90s It-girl. In archival Chanel by Karl Lagerfeld, Palmer made the most convincing case for the neighbouring decade and its edgy glamour. From the House's 1995 runway, a black buttoned lambskin top and a black skirt with a front vent formed the foundation of the look. The shirt's cropped fit and the skirt's corseted waist kept the look more siren, less office, while her accessories—large gold earrings and a loose chain belt at the waist—both featured the brand's signature double C motif, as did the buttons on her shirt. The actress finished off the look with patent black pumps and the Chanel Boy bag in black croc skin (perhaps another piece due for a revival?) Further, her waist-length copper locks made for a flattering contrast against the look's black and gold theme. Keke Palmer is seen in SoHo on June 17, 2025 in New York City. (Photo by TheStewartofNY/GC Images) This moment doesn't even mark Palmer's first foray into vintage Chanel this month, as just last week she attended the BET Awards in another archival piece. The One of Them Days star stepped out onto the BET red carpet in a black mini dress from the brand's Fall 1993 Haute Couture collection. The flirty piece featured a sheer halter neckline with strategic embellishments, as well as a ruched skirt with a short tulle bustle, both also embellished. She let the dress do the talking with minimal jewellery and her signature black pumps as accessories. With both looks styled by Molly Dickson, who also counts Sydney Sweeney and Sadie Sink as clients, this duo are nailing elegance without compromising on all the fun there is to have with fashion. Here's looking at what they pull out next. Keke Palmer at the BET Awards 2025 held at the Peacock Theater on June 09, 2025 in Los Angeles, California. (Photo by Gilbert Flores/Variety via Getty Images) topics: Keke Palmer, Karl Lagerfeld, Chanel, vintage chanel, archival chanel, celebrity, celebrity news, fashion, Fashion news, 2000s Fashion, 90s fashion, Trending, Archival Fashion, celebrity fashion, celebrity style, Molly Dickson
