Latest news with #LeftBank
7 hours ago
- Entertainment
Kenzo brings mischief back to Paris' iconic Maxim's with a riot of color and clash
PARIS -- Few Paris addresses conjure myth quite like Maxim's, the gilded Belle Époque haunt where artists and aristocrats once jostled for a seat at dinner, and a place immortalized in Cole Porter's lyrics and classic Hollywood films as the very symbol of Parisian chic. On Friday night, at Paris Fashion Week the renowned restaurant-turned-nightclub became the improbable stage for Kenzo's latest co-ed show — a riot of pop color, celebrity and cultural collision served tableside. Guests perched around white tablecloths as Nigo, the first Japanese designer to helm Kenzo since the late, great Kenzo Takada, set out to prove the house can still surprise. What unfolded was a knowingly playful mash-up of preppy classics and off-kilter eveningwear: eye-popping pink dresses loosely gathered and knotted, each one tossed with a Left Bank silk scarf; a slinky tuxedo jacket paired with a blaring urban-printed tee in wild color, topped with a cartoon bunny in intentional clash. Think cocktail hour by way of Shibuya street style. Tongue-in-cheek references ran rampant — a circus master's striped waistcoat here, sheeny tiger-motif pants there, all nodding to Kenzo's signature mix of high craft and subcultural wink. If the goal was to recapture the house's historic sense of fun, Nigo went all in. While the creativity on display was undeniable, the sheer abundance of ideas sometimes made it hard for a single vision to shine through. With so many bold references and layers echoing recent seasons' spirit of collaboration and eclecticism, the collection sometimes felt more like a lively collage than a focused statement. Still, there were moments where the craftsmanship and playful accessories truly stood out, offering glimpses of the distinct Kenzo spirit that Nigo has made his own. Since joining Kenzo, Nigo has brought a fresh spirit of collaboration and cross-cultural exchange, most visibly in his headline-grabbing work with Pharrell Williams at Louis Vuitton and his frequent partnerships with artists from across the globe. That outward-looking energy has helped pull Kenzo back into the pop-culture conversation, blending the house's playful legacy with new momentum. As part of the LVMH stable, Kenzo now enjoys the reach and resources of the world's largest luxury group, giving Nigo freedom to experiment, push boundaries and reawaken the brand's irreverent roots. It was a night that nodded to both past and future. After a string of worn years under the previous design duo, Kenzo seems determined to shake off old dust and reclaim its seat at Paris' most storied table. The show at Maxim's — equal parts fashion circus and cultural memory — was a reminder that Paris style is best served with a wink, a clash and more than a little mischief.
Vogue
8 hours ago
- Entertainment
- Vogue
Sacai Resort 2026 Collection
This was a deceptively simple Sacai collection. Not least because Chitose Abe stepped away from the runway this season, opting instead for a static presentation of the clothes in this lookbook at the Sacai HQ on the Left Bank. As the T-shirt she was wearing implied, despite how forward-looking or concept-driven her work can present when on the runway, Abe makes everyday clothes. 'All day everyday,' read the slogan printed across her tee. And that's what she made sure to underscore in conversation: That the cornerstone of Sacai is that it is meant to be a wardrobe. Elevated, sure, but there's no reason why these shouldn't be the clothes you wear, well, all the time. Abe explained through her interpreter that the season's starting point was a white cotton cashmere tuxedo, its versatility and simplicity becoming a stand-in for the broader Sacai endeavor. Abe's touch, particularly her signature garment hybridization, has become a source of inspiration for many and it's easy to clock off the runways. This may be why, in recent seasons, her runway collections seemed to have moved into becoming concept-driven and built around a singular theme as opposed to being more broad contributions to her body of work—see the rawness of her disheveled furs from her January men's show or the streamlined, gestural sensuality of the women's one from March. Still Sacai, but presented as more specific, singular statements. What was on display at Abe's showroom this time was, instead, a sharp and clear reminder of the core tenets of Sacai. Was the intention to clean the slate or reset? Not at all, she said, answering the question this time sans translator. It was, instead, just to show this side of the label. Ditto opting out of the runway this season—no broader point being made here other than switching things up. Fair enough. Much of fashion has started to once again opt for thinness, in castings for the runways and in the proportions of clothes, but not Abe. Instead, as exemplified by that very look, the dominant silhouette in this collection was dictated by a wide, ballooning trouser and a voluminous sleeve. In many ways this was a collection about sleeves, each more fascinating than the other. They appeared slashed and open down to the elbows or rounded out entirely; made with extra volumes optionally released by zippers or with double shoulder-caps and bell-like hems; simple and curvaceous or intricately cut and folded in ways too puzzling to describe with mere words. Such technical prowess is hard to see on a runway; it was a joy to be able to experience it up close. Even more fun: After starting the day at the Sacai HQ, the fashion crowd was summoned to end it there too, this time with the promise of Japanese food and karaoke. Some of your favorite fashion editors, publicists, and multi-hyphenates belted out everything from Elvis and George Michael to Japanese pop and even Shakira (this last one may or may not have been yours truly). As a treat, the artist D4vd, who was in attendance as a guest, decided to sing his viral hit 'Here With Me.' The true star of the show, however, was Abe herself. She ended the night with a rendition of 'Empire State of Mind' accompanied by a choir of guests. She was wearing a little Sacai frock, as were many others in the room. Undeniable proof that hers are clothes not just made to live in every day, but to seize every moment
Vogue
8 hours ago
- Entertainment
- Vogue
Sacai Spring 2026 Menswear Collection
This was a deceptively simple Sacai collection. Not least because Chitose Abe stepped away from the runway this season, opting instead for a static presentation of the clothes in this lookbook at the Sacai HQ on the Left Bank. As the T-shirt she was wearing implied, despite how forward-looking or concept-driven her work can present when on the runway, Abe makes everyday clothes. 'All day everyday,' read the slogan printed across her tee. And that's what she made sure to underscore in conversation: That the cornerstone of Sacai is that it is meant to be a wardrobe. Elevated, sure, but there's no reason why these shouldn't be the clothes you wear, well, all the time. Abe explained through her interpreter that the season's starting point was a white cotton cashmere tuxedo, its versatility and simplicity becoming a stand-in for the broader Sacai endeavor. Abe's touch, particularly her signature garment hybridization, has become a source of inspiration for many and it's easy to clock off the runways. This may be why, in recent seasons, her runway collections seemed to have moved into becoming concept-driven and built around a singular theme as opposed to being more broad contributions to her body of work—see the rawness of her disheveled furs from her January men's show or the streamlined, gestural sensuality of the women's one from March. Still Sacai, but presented as more specific, singular statements. What was on display at Abe's showroom this time was, instead, a sharp and clear reminder of the core tenets of Sacai. Was the intention to clean the slate or reset? Not at all, she said, answering the question this time sans translator. It was, instead, just to show this side of the label. Ditto opting out of the runway this season—no broader point being made here other than switching things up. Fair enough. Much of fashion has started to once again opt for thinness, in castings for the runways and in the proportions of clothes, but not Abe. Instead, as exemplified by that very look, the dominant silhouette in this collection was dictated by a wide, ballooning trouser and a voluminous sleeve. In many ways this was a collection about sleeves, each more fascinating than the other. They appeared slashed and open down to the elbows or rounded out entirely; made with extra volumes optionally released by zippers or with double shoulder-caps and bell-like hems; simple and curvaceous or intricately cut and folded in ways too puzzling to describe with mere words. Such technical prowess is hard to see on a runway; it was a joy to be able to experience it up close. Even more fun: After starting the day at the Sacai HQ, the fashion crowd was summoned to end it there too, this time with the promise of Japanese food and karaoke. Some of your favorite fashion editors, publicists, and multi-hyphenates belted out everything from Elvis and George Michael to Japanese pop and even Shakira (this last one may or may not have been yours truly). As a treat, the artist D4vd, who was in attendance as a guest, decided to sing his viral hit 'Here With Me.' The true star of the show, however, was Abe herself. She ended the night with a rendition of 'Empire State of Mind' accompanied by a choir of guests. She was wearing a little Sacai frock, as were many others in the room. Undeniable proof that hers are clothes not just made to live in every day, but to seize every moment
Winnipeg Free Press
10 hours ago
- Entertainment
- Winnipeg Free Press
Kenzo brings mischief back to Paris' iconic Maxim's with a riot of color and clash
PARIS (AP) — Few Paris addresses conjure myth quite like Maxim's, the gilded Belle Époque haunt where artists and aristocrats once jostled for a seat at dinner, and a place immortalized in Cole Porter's lyrics and classic Hollywood films as the very symbol of Parisian chic. On Friday night, at Paris Fashion Week the renowned restaurant-turned-nightclub became the improbable stage for Kenzo's latest co-ed show — a riot of pop color, celebrity and cultural collision served tableside. Guests perched around white tablecloths as Nigo, the first Japanese designer to helm Kenzo since the late, great Kenzo Takada, set out to prove the house can still surprise. What unfolded was a knowingly playful mash-up of preppy classics and off-kilter eveningwear: eye-popping pink dresses loosely gathered and knotted, each one tossed with a Left Bank silk scarf; a slinky tuxedo jacket paired with a blaring urban-printed tee in wild color, topped with a cartoon bunny in intentional clash. Think cocktail hour by way of Shibuya street style. Tongue-in-cheek references ran rampant — a circus master's striped waistcoat here, sheeny tiger-motif pants there, all nodding to Kenzo's signature mix of high craft and subcultural wink. If the goal was to recapture the house's historic sense of fun, Nigo went all in. While the creativity on display was undeniable, the sheer abundance of ideas sometimes made it hard for a single vision to shine through. With so many bold references and layers echoing recent seasons' spirit of collaboration and eclecticism, the collection sometimes felt more like a lively collage than a focused statement. Still, there were moments where the craftsmanship and playful accessories truly stood out, offering glimpses of the distinct Kenzo spirit that Nigo has made his own. Weekly A weekly look at what's happening in Winnipeg's arts and entertainment scene. Since joining Kenzo, Nigo has brought a fresh spirit of collaboration and cross-cultural exchange, most visibly in his headline-grabbing work with Pharrell Williams at Louis Vuitton and his frequent partnerships with artists from across the globe. That outward-looking energy has helped pull Kenzo back into the pop-culture conversation, blending the house's playful legacy with new momentum. As part of the LVMH stable, Kenzo now enjoys the reach and resources of the world's largest luxury group, giving Nigo freedom to experiment, push boundaries and reawaken the brand's irreverent roots. It was a night that nodded to both past and future. After a string of worn years under the previous design duo, Kenzo seems determined to shake off old dust and reclaim its seat at Paris' most storied table. The show at Maxim's — equal parts fashion circus and cultural memory — was a reminder that Paris style is best served with a wink, a clash and more than a little mischief.
Irish Examiner
3 days ago
- Business
- Irish Examiner
Permission granted for student apartments at Cork's former Good Shepherd Convent
Planners have cleared the way for a major student accommodation complex at the former Good Shepherd Convent in Sunday's Well, once the site of a Magdalene Laundry and mother-and-baby home. Permission was granted to brothers Séamus and Pádraig Kelleher who were also cleared for the redevelopment of a building on lower Shandon Street where they intend to re-open the infamous Left Bank pub. It's the only basement bar left in Cork city and was previously an early morning house. As well as re-opening the basement bar, the brothers have permission to convert the remainder of 60/61 Shandon St into apartments. Permission has also been granted for the redevelopment of parts of 60/61 Shandon Street for residential apartments and to reopen the Left Bank pub. Picture Chani Anderson The Sunday's Well student accommodation, earmarked for the site of the former Good Shepherd Convent, is owned by Moneda Developments Ltd, who applied for permission in 2017 to build more than 200 apartments, but did not go ahead, despite being cleared by planners. The derelict ruins of Good Shepherd Convent, Sundays Well, Cork. Picture: Denis Scannell What's now proposed by the Kelleher brothers will deliver 274 apartments and a total of 957 bed spaces. The development will involve the partial demolition, conservation, redevelopment and extension of the existing former convent buildings for student accommodation use, as well as the provision of retail and a cafe – in the Gate Lodge - for the wider community. The student accommodation will be spread across eight blocks, ranging from three to five storeys. The has been some resistance in the community, with more than 30 objections received by Cork City Council. The historical significance of the site as a former mother-and-baby home and Magdalene Laundry and the fact that Little Nellie of Holy God – dubbed Cork's unofficial patron saint – is buried there prompted some of those objections. Padraig Kelleher said they are very cognisant of the site's special significance and that they would retain access to Little Nellie's grave as well as incorporating the historical facade of the main building into their development. Artist impression of 950-bed student accommodation development at the long-derelict Good Shepherd Convent in Cork City 'It's not going to be pastiche; there's some beautiful workmanship and we will incorporate the historical facade into a modern building and give it a new lease of life. It will be at the heart of the campus,' Mr Kelleher said. He added that the grounds extend to about nine acres. 'You can literally have a new campus up there, looking down over the entire city, close to the Tyndall research centre at the bottom of Sunday's Well, and with good access to UCC and the Mardyke.' Mr Kelleher said they 'intended to put a lot into the landscaping piece' to protect kestrals and barn owls and other wildlife as the area is in a Landscape Preservation Zone and that the architectural design would be guided by the expertise of Butler Cammoranesi Architects. The site has been the subject of ongoing anti-social behaviour, with damage caused by fires, but security is now in place. The entire convent site was added to the city's derelict site register in February 2019. 'It's a place of such huge potential, if someone is willing to grab it by the horns,' Mr Kelleher said, adding that they intend to develop the site themselves and not sell it on. 'We want to see this delivered,' he said. He added that a student population would have a good effect on the local economy, just as it did in other parts of the city. The Kelleher brothers were also cleared to redevelop 60/61 Shandon Street on Farrens Quay - the shortest quay in the city - from commercial use to residential use. The building was once a solicitor's office but has been empty for some time. Mr Kelleher said even though the initial plan was for nine apartments, they have scaled it back to five. 60/61 Shandon Street, located at the gateway to Cork's historic quarter, has been cleared for redevelopment. Picture Chani Anderson 'They'll be well over the standard size and will have nice features such as high ceilings and a terrific vista over the river.' He said they had received sterling advice from the city's conservation architects and that it would guide their work on the building. 'We want to do something decent with the building, it's very unique. We want to follow best practice, I don't know yet when we will be starting, but the first thing we intend to do is clean it up on the outside,' Mr Kelleher said. The brothers' desire to reopen the basement bar underneath the apartments is borne of nostalgia. 60/61 Shandon Street. 'Our father used to drink there and it's probably the only basement bar left in the city. It's closed for a long, long time, but credit to the owner, he hung on to the licence. We won't make anything out of it, but it's the last of its kind in Cork and we'll probably rent it out to a decent operator,' said Mr Kelleher, adding that it would continue to be known as the Left Bank. Read More Cork publican Benny McCabe hails city revival with opening of The Fountain bar
