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Los Angeles Times
29-06-2025
- Entertainment
- Los Angeles Times
If you want to bring L.A. to Paris Fashion Week, you're going to have to drop a pin
How do you bring L.A. to Paris Fashion Week? 'Literally just drop a pin,' says strategist and consultant Stephanie Ramos. We're at the Courtside X Akila picnic at Champ de Mars, an annual tradition that made it out of a group chat Ramos had started five years ago. Walking up to the park under the Eiffel Tower, hundreds of tourists from around the world blanket the grass, but it's easy to spot the hundred or so people here for the picnic. The West Coast energy reverberates like a satellite. It helps that most people are in Akila sunglasses for the occasion, but there is an intangible thing too — a mix of musicians, skaters, models and artists talking close, dapping each other up while drinking Champagne from the bottle, not too self-serious to pose for photos under the Eiffel Tower. Five years ago during fashion week, friends were blowing up Ramos' phone trying to find a way to link up. 'It was driving me crazy, so I threw everyone on a group chat — 35 people,' Ramos says. That group chat was the genesis for Courtside, a collective of creatives from L.A., New York, Miami and beyond who now meet once a year when they're in Paris for the men's shows in June, and invite all of their friends to join. The picnic has become the stuff of PFW legend, a taste of home for L.A. people hustling through the week. There, you might see familiar faces like designer Corey Populus, the rising star of regional Mexican music DannyLux or legendary skater and restaurateur the Nuge. 'It's funny, because everyone always says it's tough to meet up in L.A. — you always have to preplan everything, there's traffic,' Ramos says, 'but when you're in a city like Paris you're going to make it a point to see each other.' 'Mexican as f—, inspiring, wholesome and family-like. My friends are my family.' — Esperanza Rosas, a.k.a. Runsyyy, artist, Chicago 'Paris Fashion Week has been very motivating for me in every aspect. I see all these other artists from around the world, and it motivates me to keep going.' — DannyLux, musician, Palm Springs 'A dream.' — David Castaneda, stylist and designer, Inland Empire. 'Adventurous, silly, beautiful, random and connected.' — Zahara Davis, model and actor, New York. 'We all love to eat good, drink good and skate. It could be Copenhagen, Paris, but we link every time.' — Don Nguyen, a.k.a. the Nuge, skater and owner of Burger She Wrote 'The way I bring L.A. to Paris is with my own personal style. I'm a heritage classic dude and I've had fits all week. And my Uncle Paulie's hat. This is the L.A. hat to me.' — Sean B., private chef and curator, Beachwood Canyon 'L.A. has such a unique style, and Paris has a unique style too. I like when people come here and I can identify specifically who is from L.A. based on their style and how they carry themselves. L.A. is a little more slouchy.' — Chelsea Jordan, musician and content creator, Hollywood 'For me, it's seeing all of these people I know in a different scene. This is the most community I've seen. L.A. has that heart, but it's so spread apart, so seeing everyone together has been really cute.' — Ashley Michelle Suarez, model and actor, West Hollywood 'Community, which is the most beautiful thing ever. Seeing all the familiar faces here is special. Community in L.A. runs deep.' — Mallory Benson, marketing at Akila, L.A. 'S—, me popping out by myself is bringing L.A. to Paris. I've been coming here for eight years now. Me and Spanto got close because there would never be anyone from L.A. here — it was just me, Spanto, Aleali [May], Corey [Populus], shout out my peoples. It's really beautiful to be amongst my L.A. folks. Finally.' — Cheikh Tall, model and marketing director for Royal.2, L.A. 'It's all about finding spaces for the community to feel familiarity. L.A.'s really big on community, and a big part of that is feeling comfortable. Being here in Paris we have enough people and brands that have made it feel comfortable enough for a first-timer like myself.' — Daven Fowler, fashion sales, Leimert Park 'L.A. brings a whole different energy to Paris. Especially the Chicano culture, it's something Paris hasn't seen before. We're adding to the narrative.' — Carlos Jaramillo, photographer, Los Angeles
Scoop
13-06-2025
- General
- Scoop
Wellington City Council And Predator Free Wellington Win Supreme Award At Local Government Excellence Awards
Wellington City Council and Predator Free Wellington have won the Supreme Award at the LGFA Taituarā Local Government Excellence Awards held at Tākina Wellington Convention and Exhibition Centre this evening. The LGFA Taituarā Local Government Excellence Awards celebrates programmes, projects, and approaches that demonstrate professional excellence in local government management, and are open to any council, or council-controlled organisation (CCO) in Aotearoa New Zealand. Three Wellington City Council projects were nominated in different categories, with Predator Free Wellington taking the top award for Excellence in Environmental Leadership, then going on to win the overall Supreme Award out of all the category winners. 'What a night for Wellington! This is a well-deserved national recognition that highlights the groundbreaking conservation work happening in our city, underscores Wellington's commitment to kaitiakitanga or environmental stewardship, and the role our community plays in achieving these ambitious goals,' says Mayor Tory Whanau. Predator Free Wellington - Excellence in Environmental Leadership (Winner/Supreme Winner) Wellington City Council is a proud partner of the Predator Free Wellington project (PFW), which is working hard to eliminate rats, stoats and weasels from Pōneke – and has already been successful on the Miramar Peninsula. 'This award recognises the dedication of the PFW team and also reflects the power of collaboration between local government, volunteers, and engaged communities. PFW's work is making a huge difference to our local biodiversity, and we are proud of their achievements and eager to continue supporting their bold vision for a predator-free capital,' says Mayor Whanau. Predator Free Wellington Project Director, Kaiwhakahaere Matua, James Willcocks says the award is great recognition of years of collaboration and the amazing mahi of all its volunteers. "This award reflects the strong partnership between Wellington City Council and Predator Free Wellington, built on our shared commitment and investment in creating a predator free Wellington. 'Together, we've created a blueprint for transforming urban environments worldwide, demonstrating that cities can be places where both people and biodiversity can thrive." The other two nominations for Wellington City Council were: Mākara Peak Mountain Bike Park - Excellence in Community Engagement (Nomination) Mākara Peak exemplifies excellence in community engagement through conservation efforts, volunteer contributions, and a successful partnership. This transformation highlights the power of collaboration and dedication to environmental stewardship. Nestled in Wellington's western hills, Mākara Peak Mountain Bike Park (MP) has transformed from gorse-covered terrain to an award-winning recreation area. Mākara Peak Supporters (MPS) and Wellington City Council (WCC) have driven this change, fuelled by thousands of volunteers. Volunteers have built trails, planted over 60,000 native trees, controlled pest plants, and maintained nearly 700 traps. Their efforts have rejuvenated native bush, providing habitat for kiwi, kākāriki, tītipounamu, kārearea, and kākā. TrackDem - Excellence in Digital Local Government (Nomination) Wellington City Council is taking a world-leading approach to transparency by making it easier for everyone to access and understand Council decisions by using technology to locate and track voting records and meeting data. The Mātai Manapori TrackDem system, delivered via enhanced website functionality, shows clearly how the Council and its committees have come to their final decisions, laying out initial recommendations, any changes or amendments to those recommendations, and how each individual Elected Member voted.
Indianapolis Star
24-05-2025
- Sport
- Indianapolis Star
Center Grove grad Caden Cornett among those impacted by Purdue Fort Wayne cutting baseball
Purdue Fort Wayne redshirt freshman pitcher and Center Grove grad Caden Cornett had his exit meeting with the PFW coaching staff Thursday afternoon, shortly after the team returned from the 2025 Horizon League Championships in Dayton, Ohio. Cornett, a 6-foot-5 right-hander, is working his way back from a November 2023 surgery to repair the labrum in his pitching shoulder. He made just two appearances this season, ⅓ of an inning in total. He talked with the staff about his goals for next season and what he needed to do to establish himself on the pitching staff. He had no idea a text message Friday morning would derail his plans for the upcoming season. "Nobody knew about the meeting," Cornett said. "We didn't know if any other team was (having a meeting). We heard softball was and we were like, 'Oh crap, this isn't good.' "As soon as we walked into the meeting we saw everyone crying. ... The softball coach (Amber Bowman) our AD (Kelley Hartley Hutton). It was tough for her to tell us that you can't play baseball or softball anymore. It was rough. Not a fun meeting to be in." PFW announced Friday that it was discounting its baseball and softball programs effective immediately. The decision, which includes an expected cost savings of upwards of $1 million, is directly related to $6 million in budget cuts the university announced Thursday, per a news release. More: Purdue Fort Wayne eliminates baseball, softball programs amid university's financial cuts "This is one of the saddest days in my 25 years as a Mastodon," Hartley Hutton said via new release. "We know this news will upset our student-athletes, alumni and fans. It was not made lightly, and we are committed to supporting those affected through this transition." Cornett said he'd heard some rumblings about the baseball program being in trouble but never thought it would be shuttered. "We didn't have the best season, but the year before we did good," Cornett said. "We thought we'd come back in the fall and get ready to play. We weren't expecting this at all." The university said it will honor all athletes' wishes to transfer. Cornett, like many of his teammates with eligibility remaining, has already entered the transfer portal. Cornett hopes to find another Division I school to play baseball next season, but his situation is tricky. Baseball coaches prioritize experience in the transfer portal and with just ⅓ of an inning pitched over two seasons, schools may need to rely on his stats at Center Grove to gauge his potential. Cornett had a 4-0 record with 1.49 ERA and .163 opponent batting average and 39 strikeouts over 37⅔ innings as a senior with the Trojans. "It was really difficult not being able to play," Cornett said. "I was supposed to come in and make an impact, have a big role on the team. Tearing my shoulder right when I came in wasn't the plan. "I've been busting my butt to get back and healthy. With no innings, it's kind of hard to transfer. (Schools) don't know how I'm going to be coming back. I'd like to stay at the Division I level, but I know it's hard to trust a guy who has zero college experience." Cornett's roommate, fellow Center Grove pitcher Ben Murphy, is also working his way back from injury. Cornett said the mood within the program is one of shock and sadness. Players have been staying in their rooms since hearing the news. He added that he felt like the team had a strong bond and a chance to improve on this season's 11-42 record. Now he'll never get the chance.
Yahoo
14-03-2025
- Entertainment
- Yahoo
Kamala Harris' Stepdaughter Ella Emhoff's Paris Photos Focus On Mini Tennis Skirt
After her whirlwind appearance at NYFW last month, Kamala Harris' stepdaughter Ella Emhoff took on Paris Fashion Week in new photos for the Lacoste show. On Sunday, Emhoff attended the brand's womenswear fall 2025 at Roland-Garros wearing an itty bitty skirt and later recapped the event with 'extra cool' Instagram photos. Decked up head to toe in pieces from the brand, Emhoff looked ecstatic while posing for pictures in and outside the event. The social media post also included glimpses of her behind-the-scenes moments, which were equally fashionable. Ella Emhoff's new PFW photo exhibited her embracing the tennis-core trend in Lacoste pieces for its fall 2025 show. Emhoff, Kamala Harris' stepdaughter with her husband Douglas Emhoff, just dropped Paris photos, flaunting a teeny tiny tennis skirt and enjoying her time there. Making the most of her first show with the brand, she styled a pleated skirt and a short-sleeve cable-knit polo with a handbag that uniquely matched the skirt's pattern. In addition, she sported rolled-down socks and lace-up shoes. For the rest of her look, the Parsons School of Design grad leaned into some of her staples including the side-parted slick-back bun. Nevertheless, she stepped out of her comfort zone and put on rose gold eyeshadow for a dramatic addition to her makeup. Also a designer and textile artist, Emhoff's appearance looked Wimbledon-ready and as fashionably sporty as it could. In the caption, she thanked the Lacoste team for making her 'first show such a special experience' and disclosed being their 'fan since I was little,' which made it 'extra cool.' Besides glimpses of her look, Kamala Harris' stepdaughter Ella Emhoff's Paris photos showed her relaxing time in the dressing room and stylish moments at the show. Other snaps showed off a lavish and delicious-looking breakfast spread comprising avocado toast, matcha, and shakshouka. Further making it everything Lacoste, she wore a branded robe and munched on a macaron while being her signature goofy self. The post Kamala Harris' Stepdaughter Ella Emhoff's Paris Photos Focus On Mini Tennis Skirt appeared first on Reality Tea.
Euronews
14-03-2025
- Health
- Euronews
Gene Hackman's estate bids to seal police records into death
A representative for the estate of actor Gene Hackman is seeking to block the public release of autopsy and investigative reports, especially photographs and police body-camera video, related to the recent deaths of Hackman and his wife Betsy Arakawa. Authorities last week announced that Hackman died at age 95 of heart disease with complications from Alzheimer's disease. A rare, rodent-borne disease — hantavirus pulmonary syndrome — took the life of his 65-year-old wife. The couple's bodies weren't discovered until 26 February when maintenance and security workers showed up at the Santa Fe home and alerted police, leaving a mystery for law enforcement and medical investigators to unravel. Julia Peters, a representative for the estate of Hackman and Arakawa, urged a state district court in Santa Fe to seal records in the cases to protect the family's right to privacy in grief under the 14th Amendment to the US Constitution, emphasizing the possibly shocking nature of photographs and video in the investigation and potential for their dissemination by media. The request also described the couple's discrete lifestyle in Santa Fe since Hackman's retirement. The couple "lived an exemplary private life for over thirty years in Santa Fe, New Mexico and did not showcase their lifestyle,' the petition said. New Mexico's open records law blocks public access to sensitive images, including depictions of people who are deceased, said Amanda Lavin, legal director at the nonprofit New Mexico Foundation for Open Government. Some medical information also is not considered public record under the state Inspection of Public Records Act. At the same time, the bulk of death investigations by law enforcement and autopsy reports by medical investigators are typically considered public records under state law in the spirit of ensuring government transparency and accountability, she said. 'I do think it does infringe on transparency if the court were to prohibit release of all the investigation records, including the autopsies,' Lavin said Thursday. 'The whole idea of those records being available is to ensure accountability in the way those investigations are done.' 'There is also a public health concern given that hantavirus was involved,' Lavin added. She said the preemptive request to prevent the release of government records on constitutional grounds is unusual. The best fashion designers are always equipped with a remarkable compass that helps shape our emotional, aesthetic and style tempo. At Paris Fashion Week (PFW), with a mega schedule of 72 shows and 37 presentations, that compass was whirling. History has been at the forefront as Victorian dandies were on display at McQueen and Dior, who paraded 18th-century style doublets. There were shape shifting silhouettes (cubist tailoring at Junya Watanabe, padded hip maxi skirts and giant ruffled Jacobean shoulders at Alaia) and a taste for splendour; whether that be bejewelled baroque jackets at Schiaparelli; snapper back lambskin coats and tailored shorts at Hermès, or a floor length carnation red shearling fur coat at Balenciaga. The sheer array of concepts, the intricacy of craftsmanship and myriad points of view defy neat trend buckets. There's a commitment in Paris to the extraordinary, to transcendence and to the ultimate seduction of deep-pocketed clients and fashion fans alike. Facing a luxury spending slump, designers are pushing 'beyond' on all levels. 'I wanted to make things that can inspire, and that can never be replicated by fast fashion. The women in my life are lone stars - there's no one else like them, and there could never be. I hope they, and all women, feel the same about these clothes,' said Daniel Roseberry at Schiaparelli. It was a week of standout debuts. British designer Sarah Burton, at Alexander McQueen for 26 years, made her start at Givenchy, where her former mentor and boss Alexander McQueen, and before him, John Galliano, have triumphed in the creative director position. Burton, who is adored for her storytelling prowess as well as her remarkable aptitude for dressing real women (diverse ages and body types) began with a stack of Hubert de Givenchy's sketches and patterns that had been hidden between two walls at the original maison and were discovered in 2018. It gave Burton insight into the spirit of the atelier and the hand of one of fashion's most gifted couturiers who coined the Bettina blouse and Audrey Hepburn's little black dresses in Breakfast at Tiffany's. But rather than pay strict homage, Burton let her powerful imagination soar and presented a study in stripped back elegance, starting with the literal foundations. There were pointy 50s brassieres and knickers under flounced hemmed mesh dresses, segueing into back to front sculpted tuxedo jackets and gorgeous chinoiserie embroidered opera coats. The crescendo was a tulle strapless grand gown in sunburst yellow. With Cate Blanchett (last week sporting a curvy leather skirt suit straight from the runway), Timothée Chalamet and Ellie Fanning donning designs, the Givenchy world is sparkling again, and will be soon fuelled by the sale of 'it items' like the shiny ankle boots bearing the tag Givenchy 1952. Like Burton, Haider Ackermann at Tom Ford opted for an intimate presentation – all the better to see his meticulous tailoring and colour palette that saw absinthe green fashioned into a duchesse satin-sleeved column dress, tiny sparkles on an immaculate tuxedo suit and languid men's tailoring in violet and pistachio wool. Location, location! The ladies toilet might not be an obvious choice as a show set but Alessandro Michele turned to this place of intimate conversations and vanity as inspiration with models emerging from the red lacquered stalls (a cinematic take on Valentino's famed red) to parade his deliciously frivolous gowns. 'I imagined a public toilet: a counter-place that neutralises and suspends the dualism between inside and outside, between what is intimate and what is exposed, between the personal and the collective,' says Alessandro Michele, the Roman designer who is known for his philosophical thunk. There's lot to love between the sinuous fake fur-trimmed jackets; gold frill tiered evening dresses; silky slips worn over lace bodywear and neoprene hoodies. It was styled with a youthful freedom that eschews ladylike etiquette and signals Michele's bid to woo a young fan club. Since launching with a resort collection in 2024, Michele's team are excelling in VIP dressing with a legion of actors donning Valentino's ethereal, nostalgia-tinged confections. For his debut at Dries Van Noten, Julian Klausner, formerly head of women's wear, captured the magic of the Paris Opera in resplendent form – baroque velvet coats dripping with jewels; a bolero made from silk curtain tassels; glimmering sequin skirts and emerald devoré velvet sarongs – that revelled in seductive drama. The brand, now owned by Puig, will open stores in London, Milan and New York this Spring. The Saturday schedule at PFW is always dedicated to the fearless creatives who work under the umbrella of the Comme des Garçons collective. Founder, the radical Rei Kawakubo, upturned bourgeois chic on its head with her black distressed 'bag lady' silhouettes in the 1980s. To Led Zeppelin's 'Stairway to Heaven', Kawakubo's protégé, Junya Watanabe, presented a vision with rock star guts, featuring leather and wool jackets with trapezoid protrusions (an acoustic enhancing design perhaps), bell bottoms and khaki M1 cocoons. His 'rockers' looked blissed-out in this sonic world. Meanwhile, Kei Ninomiya at Noir pursued his vision of engineered sculptures (he never uses seams or zips) in joyful designs like a gown made of giant rainbow textural bows, or one in resin-coated candyfloss-like swirls. The mission? 'To achieve expression impossible with just fabrics,' says Ninomiya. At Comme des Garçons, the indefatigable Kawakubo explored questions of size and aimless repetition to an audience of visionaries, including lensman Paolo Roversi. 'Smaller is stronger,' stated Kawakubo. 'Recently we feel that big business, big culture, global systems, world structures maybe are not so great after all,' she notes of her pathway. To that end, she set about imploding and distorting classic tropes, such as the pinstripe and houndstooth skirt suits that opened the show, with jackets boasting helter-skelter 3D shapes, and skirts with jutting-out angles. That amplification continued, including a sheath dress in shades of pink velvet made from multiple stacked pattern parts, topped by a mutant-fringed hat with two crowns. Kawakubo's perverse twist on perspectives and angles is akin to viewing a Picasso. Exploring identity, sexuality and the anatomy, Dutch designer Duran Lantink is a big talent who moulds fabric, exaggerating the female hourglass. This season, sleek sheaths with foam padded contoured hips, animal print leggings and coats with exaggerated curved shoulders appeared in a faux workspace setting. In Lantnik's Orlando world everything is fluid: a male model paraded in silicon boobs, while a female model wore a vest made to look like a rippling torso. Anatomy is also at the core of Pieter Mulier's terrific vision for Alaïa, and he works in the footprints of Azzedine Alaïa himself. Developing highly technical materials – skin-fine jersey, wool that looks like fur - he champions innovation and the kind of sculptural proportions that turn mere mortals into otherworldly sirens. Hips are eroticised with fringe hula skirts, jackets given giant snaking tubular trims, and sensuous dresses draped, slashed and tied. Physical splendour is why women adore and seriously collect Daniel Roseberry's Schiaparelli. The creative has fused his Texan roots with Schiaparelli's flamboyant artistry in wasp-waisted jackets, body contouring dresses constructed from satin ribbons, and bejewelled pagoda shouldered trophy tops. Note: big buckle belts, cordovan leather handbags and western boots are back in high style at Schiaparelli - and ready to stroll grand boulevards and rodeos alike. Women who move inspired the creative studio at Chanel. The Grand Palais was transformed with a giant spiralling ribbon and bow installation. House tweeds were cut into elegant linear suits featuring coat dresses over flared trousers in shades of raspberry, ochre and khaki, topped with sombreros. Bomber jackets were trimmed with ribbon ruffles while tulle capes and robes veiled miniskirts and shorts. Giant pearls were everywhere, even making a signature heel. It was wildly pretty and highly versatile, but the real oomph of innovation will be witnessed in October when incoming artistic director Matthieu Blazy makes his debut. Respect for women who get things done (and don't look back) is a motivation for Nadège Vanhée-Cybulski at Hermès, who masterfully worked leather, silk and cashmere into high-functioning luxury such as reversible coats, saddle flap shorts and marbled velvet tube dresses with skin revealing zippers. 'Sculptural, resilient, seductive,' is Vanhée-Cybulski's holy trinity - and the mantra is attracting a consistently high turnover at this heritage maison. Fashion is a portal into the past, into the future, and Seán McGirr is deftly playing with history and time in his third collection for Alexander McQueen. Embracing the sartorial precision of the neo-dandy were ruff-necked lace blouses, peeping above fitted torso jackets, gold bullion embroidered cloaks, and a series of flamboyant chiffon dresses in fuchsia or iced lilac, made of giant furls and plumes that might have been teleported from a Victorian music hall. Travel is a real money maker at Louis Vuitton, with its 19th century trunk making giant accessories even bigger business. The set design team transformed L'Étoile du Nord, a building adjacent to the Gare du Nord, into a giant concourse catwalk for a cast of models styled as traveller archetypes: the sporty dude, the footloose beauty, the musician, the uniformed corporate worker, the multi-tasking mother. Nicolas Ghesquière's anthropological study proved heart-warming and made for thrilling viewing. The vast collection featured latex raincoats, divine silk slips with giant ruffles, hooded knit coats, giant cloche hats, slouchy boots, leather-trimmed cape coats (all the better for going incognito), and gabardine flying suits. Fictive belongings were packed into striped mini trunks, roll bags, LV monogram violin cases and hip slung bags. The track? Kraftwerk's 'Trans Orient Express'. The moving silhouettes were filmed and screened through the windows on the floors above, with the human parade then dissolving into the blur of a bullet train. And it all sweetly aligns - hospitality and travel group Belmond is owned by LVMH, and the Orient Express is the cherry on top of its expanding portfolio cake. As thousands of fashion folk headed back to airports and rail stations, Ghesquière made a grand salute to the wonder and privilege of travel.
