Latest news with #Rihanna
Daily Mail
3 hours ago
- Entertainment
- Daily Mail
Rihanna shows off her growing baby bump in an unbuttoned shirt as she joins partner A$AP Rocky and their one-year-old son Riot at AWGE show during Paris Fashion Week
Rihanna showed off her growing baby bump in an unbuttoned shirt as she joined her partner A$AP Rocky and their son Riot at the AWGE show during Paris Fashion Week. The pregnant hitmaker, 37, arrived for her rapper boyfriend's creative agency's menswear Spring/Summer 2026 show in the French capital on Friday. Rihanna looked effortlessly chic for the show as she arrived in an unbuttoned blue and white striped shirt - which displayed her growing bump. She paired the shirt with a low-rise navy pleated mini-skirt, strappy white stilettos and grey slouch socks, as well as a Dracula tote bag. The singer made her entrance carrying her one-year-old son Riot, who she shares with A$AP, 36, along with their other son RZA, three. Meanwhile A$AP sported a striking black leather zip-up jacket complete with a bright orange inside lining, as well as a baseball cap and a chain. Earlier in the day, the couple put on a stylish display on Friday as they attended the Dior show. Rihanna wore a plunging white shirt and lime green waistcoat, which highlighted her baby bump. She paired the base of her outfit with a brown and blue patterned coat and grey trousers, adding a further splash of colour with brown sunglasses with a clear frame. The star kept it cool by wearing her hair up in a messy up-do, emphasising her extravagant choice of jewellery, which included a striking Marlo Laz pearl necklace - worth a staggering $70,000 (£51,015). A$AP, 36, whose real name is Rakim Mayers, wore a blue shirt and jeans, similarly adding a splash of colour with a red, blue and green Dior tie. The couple's casually stylish outfits were very much in keeping with the theme of the Dior Homme Menswear Ready-to-wear Spring-Summer 2026 show, which took inspiration from the designer's New Look and the tailored suits that characterised it in the 1950s. Rihanna's current pregnancy will see her welcome her third child with the rapper, who she has been in a relationship with since late 2019. The couple welcomed their first son, RZA Athelston Mayers, in May 2022, and their second, Riot Rose Mayers, in August 2023. Meanwhile A$AP sported a striking black leather zip-up jacket complete with a bright orange inside lining, as well as a baseball cap and a chain Rihanna's appearance at the Paris Fashion Week event comes after her father's cause of death was tragically revealed on Thursday. Ronald Fenty died on May 30 at the age of 70 from a combination of acute respiratory failure, pancreatic cancer, and aspiration pneumonia, according to TMZ. Additional causes listed include acute renal failure and acute tubular necrosis, both indicating severe kidney damage. The cause of death comes after reported that the Umbrella singer, who is currently pregnant with her third child, is struggling with the abrupt and heart-wrenching loss of Ronald. Although the pair had a complex relationship, which included periods of both reconciliation and estrangement, an insider told exclusively that the death of the superstar's dad has taken a heavy toll on the superstar (born Robyn Rihanna Fenty). 'Robyn has had a very difficult relationship with her father over the years but his death has hit her like a ton of bricks,' the source said. 'Being pregnant and dealing with A$AP's legal woes have been an emotional roller coaster for her the last few months, and to add to it all, her dad was getting sick, and it started to become too much,' they added. They continued: 'As much as you realise that something like this is occurring, it is still completely heartbreaking and that is where she is right now.' The insider also noted that she 'has forgiven her father and, in death, they got back to a loving father and daughter relationship.' 'But, she is in pain, especially being a mother herself and there being a chance that her kids would have lost their dad to jail a few months back, she feels how important family is,' the source explained. 'This is going to take a long time, and maybe even forever to get over. Sad time in her world right now.' Over the weekend, news broke that Fenty died at age 70 in Los Angeles following a 'brief illness,' according to Starcom Network, a local outlet from Barbados.
The Guardian
8 hours ago
- Entertainment
- The Guardian
Dior Paris show is sweet relief for anyone wanting to flex a cooler muscle
Even Anna Wintour can only be in one place at a time. And rather than Paris, where Jonathan Anderson made his Dior debut on Friday, the most powerful person in fashion was in Venice for the Bezos/Sánchez wedding shortly after relinquishing her role as editor-in-chief at American Vogue. But unlike the wedding of the year, Anderson's show proved to be sweet relief for anyone wanting to flex a cooler, chicer muscle. Perched on wooden cubes within the Cour du Dôme des Invalides sat plenty of VIP clout: Daniel Craig, Donatella Versace and Roger Federer. Most of the Arnault family, who own Dior and routinely joust with Jeff Bezos over who has more money, were present. Even Rihanna, pregnant in a Dior pastel waistcoat, was relatively punctual. Anderson is known for his sharp eye and crafty, mercurial taste – few people have shaped the red carpet and ultimately the high street into the hype machine it is today. But Dior is a different challenge. As the first creative director of menswear and womenswear since Christian Dior himself, the designer needs to revamp LVMH's second biggest brand, with estimated revenues far greater than at his former label, Loewe. 'I can't stand here and say I'm not nervous, that it is not petrifying,' he said backstage before the show, wearing his trademark Levi's and a plaid Dior shirt. 'Dior is on billboards. It's on Rihanna. It's transcendent. But this is the starting point – I've been here four months, and the first five shows will show different aspects. Some will contradict; others will be completely radical.' Some designers get critical acclaim, others sell a lot of clothes – a rare few have a talent to do both, but that's the hope with Anderson. Because of tariff wars and a decline in the luxury market, LVMH shares have halved from their 2023 peak. 'Delphine [Arnault] and I, we talked about changing the quality, about upping the game,' Anderson said. Opening the show was a bar jacket in Donegal tweed. More interested in how a look is put together than the clothes themselves, Anderson styled it with a pair of thick cream cargo shorts cut from 15 metres of fabric and layered up like a Viennetta. Knitted vests were a through line, as were ties and neck ruffles, and plenty of colour – greens, pinks and blues. Dior, he says, is a house of colour, in part because it offsets the 'house grey' that features on billboards, Dior clothes labels he redesigned and the Parisian sky. A puffer gilet was circularly cut and placed over a formal shirt, while summer coats and capes came knitted or in pleated bright colours. One was even based on an original Dior shape 'that would have cost the equivalent of a Ferrari', except here it was styled with trainers. There were even jeans – skinny and baggy, in indigo and green. The look was preppy and eccentric, with shades of Loewe, JW Anderson, and even Uniqlo in the puffers, among the classic Dior shapes. On Anderson's original moodboard were Warholian images of the artist Jean-Michel Basquiat and the socialite Lee Radziwill, alongside classic Dior dresses such as the Delft and Cigale. The idea was to take each look into the present, 'to recontextualise it', he said. He even took his predecessor Maria Grazia Chiuri's book bag totes and put a 'new skin' on them, in the form of Dracula and Les Liaisons Dangereuses. It's these hyperspecific references that give Anderson's work a pleasing temporality, and will no doubt sell well – here at Dior, and whatever high street shop will no doubt copy him. Sign up to Fashion Statement Style, with substance: what's really trending this week, a roundup of the best fashion journalism and your wardrobe dilemmas solved after newsletter promotion Anderson is the latest big name to arrive at an established brand. 'I'm not the only person going into a big house at the moment, but we need to let the dust settle,' he said, adding that he didn't 'want to chop it all down. It's just a continuation.' A great believer in the Jim Jarmusch approach to art – steal, adapt, borrow – he said: 'Ownership in fashion is devastating. Copy [in design] is what you do. Because there will always be someone after you.'
Yahoo
9 hours ago
- Entertainment
- Yahoo
Capes, tailcoats and cravats: Dior gets its teeth into Dracula chic
For the last few days Dior's new creative director Jonathan Anderson has been dropping clues on social media about the contents of his first collection for the fabled French house. And the most eagerly awaited show of Paris Men's Fashion Week Friday certainly didn't disappoint, with a galaxy of stars descending on Les Invalides including "Bond" star Daniel Craig, Robert Pattinson, singer Sabrina Carpenter, tennis legend Roger Federer and K pop stars Mingyu and Beomgyu. A heavily pregnant Rihanna -- for whom Anderson has made several stage costumes -- also arrived fashionably late with her husband ASAP Rocky. Anderson had led fashion fans on a virtual version of Hansel and Gretel in the run up to the show, expertly teasing them with little peeks of what was in store for them when he finally lifted the curtain. They included a Dior Book Tote emblazoned with "Dracula" in blood-red letters in a nod to Dublin writer Bram Stoker. The gothic 19th-century inspiration was clear in the show, with capes, tailcoats and tweeds, waistcoats and Victorian high collars and cravats. - 'Obsessed' - "I've always been obsessed by Dracula," the designer told reporters. "I never realised when I was young that Bram Stoker was Irish and I used to walk past his house without knowing." The show opened with a male take on one of Christian Dior's most iconic dresses, La Cigale from 1952, which was in turn inspired by the decadence of the 18th-century French royal court at the Palace of Versailles. Anderson kept the aristocratic dandy theme going throughout the show, taking in Irish rakes and dashing English dukes, their dickie bows slightly askew after a long night on the tiles. He had posted two rather endearing videos of French football star Killian Mbappe before the show putting on a tie and trying -- and laughingly failing -- to knot a dickie bow. The designer said he saw some of the spirit of Christian Dior in the striker. - Mbappe's 'amazing smile' - "Mbappe has this amazing smile and a kindness to him," Anderson said. "Coming out of the war, the greatest attribute Dior had was empathy. That is quite rare in a couturier... (and yet) after the war he changed everything for everyone and for France." Anderson told reporters before the show that he did not want to throw out the baby with the bathwater after being given unprecedented free rein over the brand. "Some of my heroes, the greatest designers in history, have done Dior, and I don't want to be chopping it all down," he said. Rather he wanted to "decode and recode Dior without discarding all the great designers" who had worked for the label. Indeed, his "Dracula" and "Les Liaisons Dangereuses" Book Totes were a continuation of the "amazing bag" his predecessor Italian Maria Grazia Chiuri had done, he said. The mixing up of clothing codes also had something of the Haitian-American artist Jean-Michel Basquiat, whom the designer had called an "epitome of style" in an Instagram post in the run-up to the show. Anderson's arrival at Dior had been flagged for months after he turned around the rather fusty Spanish label Loewe, which is also owned by the French luxury giant LVMH. Just weeks after he was named to head Dior Homme, he was also appointed creative director of the Dior's women's collections and its haute couture. - Changing of the guard - With the luxury sector's once bumper profits plummeting, Anderson's appointment is an attempt to renew the fashion house after nine years under Chiuri. It also comes amid a major changing of the guard, with Belgian Matthieu Blazy, 41, taking over French rivals Chanel and iconic fashion editor Anna Wintour saying Thursday that she was stepping away from American Vogue to move upstairs in its parent group Conde Nast. Anderson, the son of former Irish rugby captain Willie Anderson, said that change was maybe no bad thing. "The fashion industry is like a bonsai that might have gotten too big. We need to purify, to go back to what we like about it, which is making clothes," he told the French daily Le Figaro. Trained at the London School of Fashion, his first big break was landing a job in Prada's marketing department before launching his own brand, JW Anderson, in 2008. "I think he is one of the most gifted talents of his generation," said Alice Feillard, men's buyer at Galeries Lafayette, Europe's biggest department store group. "We saw what he achieved at Loewe -- a really remarkable and brilliant body of work." "There is something childlike yet very intellectual" about his collections, Adrien Communier, fashion editor for GQ France, told AFP. They are "very cheeky, very bold... and really intriguing", he added. mdv-fg/phz
Telegraph
10 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.'
Irish Examiner
11 hours ago
- Entertainment
- Irish Examiner
Irish designer Jonathan Anderson showcases new collection for Dior at Paris Fashion Week
Irish designer Jonathan Anderson proposed some new ideas for menswear as he ushered in a new era for Dior at Paris Fashion Week during the spring/summer 2026 menswear shows on Friday. The designer's debut offering for the storied French fashion house was a collision between an 18th-century dandy and a modern man. The collection contained some of Anderson's design hallmarks: he riffed on historical dress, preppiness, and sportswear, while paying homage to the Dior codes. The first model emerged in a tailored blazer in Donegal tweed and oversized cargo shorts, with ruffles protruding from behind. The 'Bar' jacket, as it is known, is a Dior signature. This was Anderson's take. The look was accessorised with a cravat, stripey socks, and fisherman sandals. Rocky and Rihanna arrive for the Dior menswear show. Picture: Marc Piasecki In this collection, Victoriana meets sportswear; military-inspired jackets are thrown over denim shirts; oversized Bermuda shorts have the pomp and ceremony of the 18th-century French court, without feeling like costume. The 40-year-old designer has a penchant for refracting historical dress through a modern lens. If anyone could resurrect the cravat, or even the tie, perhaps it is Anderson, who pushes men to think differently about the parameters of their wardrobes. A skilled interpreter of dress codes, Anderson identified properness and twisted it: there were upturned collars, untucked shirts, jeans with one leg rolled up, while ties were loosened or styled backwards. Almost every look was paired with trainers — which are sure to sell like hotcakes. Even the more polished looks were styled with jeans. That sense of rebellion echoed in the presentation of the juvenile models, who sauntered down the runway to a soundtrack of Bruce Springsteen, with their slouchy posture and their hands thrown in their pockets. Some more casual looks like logoed half-zips and knitwear and wide-leg jeans have instant commercial appeal. At the juncture between past and present, Anderson's proposition for the future was challenging, yet had a realistic slant. American singer Sabrina Carpenter at the Dior menswear show. Picture:If the standing ovation and rapturous applause from guests including Roger Federer, Daniel Craig, and Rihanna, suggested anything, the audience's appetite for new Dior is already insatiable. That the Northern Irish fashion designer would assume one of the most important positions in fashion first circulated as rumour in December. It permeated most corners of the industry in the coming months, especially as Anderson stepped down from his position as artistic director at Loewe. It was confirmed in April, when he succeeded Dior's men's artistic director, Kim Jones, and the prophecy was fulfilled when he replaced the brand's outgoing women's artistic director, Maria Grazia Chiuri, in early June. It is the first time the house has had a single creative director at the helm in over two decades. Anderson's arrival comes at a critical time for Dior. More than a household name, the brand is a global powerhouse, with revenues quadrupling between 2017 and 2023 to €9.5bn However, amid a luxury slowdown, declining demand, especially in China, is clinching profits at big houses from Louis Vuitton to Chanel. With a fresh outlook, Anderson is expected to stimulate momentum for the brand. Despite the enormous task, Anderson is one of the most ambitious talents of his generation. Between 2013 and 2025, Anderson transformed Loewe, a sleepy Spanish leather goods brand with €200m in sales, to one of the foremost luxury brands in the world, with close to €2bn in sales. Italian fashion designer Donatella Versace arriving at the Dior menswear show. Picture Emma da Silva / AFP via Getty Images He achieved these results while designing four collections for his eponymous label, JW Anderson, and two in collaboration with Japanese retailer Uniqlo. Now, Anderson's workload jumps from six to 18 collections per year with the addition of Dior. Many insiders are suggesting he is his generation's Karl Lagerfeld: a prolific creative who designed across Chanel, Fendi, and Karl Lagerfeld at the time of his death in 2019. With the scale of his ambition, it is easy to understand the comparison. Anderson's next outing for Dior will be presented during the spring/summer 2026 womenswear shows at Paris Fashion Week in September. Read More Anna Wintour to step aside as editor of American Vogue
