“It was positively surreal.” How often do we use that term to describe an event or incident that strikes us as bizarre? It’s not clear exactly when the term was vacuumed up by popular culture to become a synonym for “weird” but it does illustrate the far-reaching impact of the cultural movement founded by French writer and poet André Breton. It is that movement that is the subject of the penultimate film from Le Méridien’s Unlock Art series.
As I’ve highlighted previously, one of the aspects of Netflix series House of Cards that gets little attention but makes it groundbreaking from a gender perspective is that the female characters are not only strong and well-developed with independent plot lines and a range of complicated emotions but they’re actually played by age-appropriate actresses.
If you do a quick Twitter search using the words “jill” “abramson” and “fired”, the result is a feed peppered with the words “pushy”, “brusque” and “equal pay”. For many women who aspire to top management positions in their professional field, Jill Abramson's firing is not only a deeply disappointing turn of events but also a disheartening one.
International relations, politics, human rights … These are not normally subjects you’ll hear discussed at your standard luxury industry event. In fact, these are subjects that most luxury brands are keen to avoid discussing publicly altogether.
It would be difficult to overestimate the importance of wardrobe in film, television and theatre. The right costume choices can communicate crucial information about a character's mood, personality and status without the actor ever uttering a single word. Besides the excellent writing and rich, complicated plot lines featured on the Netflix series House of Cards, costume design is one of the aspects of the show I admired most about Season 1.
In a brief press release issued by Condé Nast earlier today, Anna Wintour, editor-in-chief of American Vogue expressed regret for her decision to cast reality television personality Kim Kardashian on the April 2014 cover of her magazine.
When fashion historians look back at this April 2014 cover of French fashion glossy Jalouse featuring 12 year-old Thylane Blondeau, they will no doubt conclude (correctly) that the fashion media reached a new level of depravity in 2014. How else to explain the casting of a prepubescent child on the cover of a magazine purportedly targeting women aged 25-40?
The Luxe Chronicles is a collection of interviews, profiles and musings on various aspects of the luxury industry and occasionally, a rant on our celebrity obsessed culture and the dumbing down of our collective sense of style and esthetic.