By Erin Moonyeen Haley Punk fashionista and platinum businesswoman, Vivienne Westwood, once said: “The best fashion accessory is a book.” Styled with that logic, it's clear that the superlative gift for any fashion savant, clotheshorse, accessories junkie or shopaholic who is also a book lover is to mix fashion and reading. Whether it’s a book that prowls the streets for Harajuku fashion, a text that relishes the peacocking of dapper dress or a coffee table Phaidon tome that obsesses over the history of haute couture, books are the treasure chests for this season’s fashion-conscious and fashion-forward. Writer, historian and Professor of History at the Graduate Center, CUNY, Tanisha C. Ford has astutely recognized and written about fashion, not as a superfluous element bobbing errantly in pop culture, but as a critical cog in the overall matrix of society. Ranked on the Root 100 list of most influential African Americans in 2019, she has authored such books as Dressed in Dreams: A Black Girl's Love Letter to the Power of Fashion and Liberated Threads: Black Women, Style and the Global Politics of the Soul. Dressed in Dreams - which has been optioned by Sony Pictures TV as a live-action series adaptation, to be produced by Freida Pinto and Gabrielle Union - is almost nonchalant in its intimacy as it highlights how specific items of clothing - from dashikis to bamboo earrings - can always take us back to hearth and home. Liberated Threads dives into the evolution of the Black Power movement, reminding readers that fashion always has a place in emancipation. With a cover that stimulates margarita and jolly rancher cravings, Fashion, New Edition: The Definitive Visual Guide by DK and the Smithsonian Institute is an encyclopedic text that can act as a quickie reference guide, as a prop for a Devil Wears Prada sequel or as an investigatory opus for a swan dive into all things fashion history, from menswear, hosiery, corsets, dresses and beyond. For the fashion maven hankering for the dark, albeit expressively rich 90s, Champagne Supernovas: Kate Moss, Marc Jacobs, Alexander McQueen and the 90s Renegades who Remade Fashion by Maureen Callahan is the ultimate read. While the book spotlights the personalities that launched such terms as ‘heroine chic’ and ‘alternative decadence’, it also focuses on the struggles of an era that burned white-hot, even without the glare of social media. Fashion and beauty are interchangeable concepts, and nowhere is that more evident than in The New Beauty: A Modern Look at Beauty, Culture, and Fashion edited by Gestalten and Kari Molvar. The book is as much philosophy and social commentary as it is a fashion and beauty exposition, with an investigation into the chameleon-like capabilities of both aspects of individuality. It is precisely the individual that is anatomized, with a look at how contemporary fashionistas and beauty mavens focus on expressing the innerself while also feeling blazingly confident in one's own skin. The book makes it clear that the days of homogenized fashion are in the rearview mirror, as various isms - from feminism to classics to ableism - dominate socio-political conversations, finding a natural outlet in the very art forms we put on bodies and faces. Words like ‘French’ and ‘style’ will never be fully divorced from one another. The book The Essence of Style: How the French Invented High Fashion, Fine Food, Chic Cafes, Style, Sophistication, and Glamour by Joan DeJean launches into a full investigation as to why that is so. To make her argument, DeJean goes back to the baroque extravagance of Louis XIV before segueing into the debut of celebrity hairdressers and cafes that assumed the mentality of Enlightenment-era Salons. The word ‘style’ is given a full autopsy, a thorough cavity search so that its official etymology and influences are understood and easy to spot in the wild. The cover alone of Dapper Dan: Made in Harlem: A Memoir by Daniel R. Day is a portrait of masculine grace and elegance. As for the book’s description, it reads like a tagline for a film destined for the Cannes Film Festival: “With his now-legendary store on 125th Street in Harlem, Dapper Dan pioneered high-end streetwear in the 1980s, remixing classic luxury-brand logos into his own innovative, glamorous designs.” But Dapper Dan’s story isn't just about haute couture and its accessibility; it’s about the hustle inherent when one comes from a gritty socio-economic reality and knows they are destined for greater, finer things. Whether Dapper Dan was learning how to treat fur because no boutique was going to do so for a Black Man, or he was keeping kids away from drugs, his is an epic story where fashion is both the method and the indulgence. Ingrid E. Mida is a dress and art historian who delivers the best of both worlds in Reading Fashion in Art. The book is nothing short of luscious as it examines the art in both famous paintings and lesser-known gems, letting readers play student in what amounts to a thorough cultural dissection. The book is both academic and pleasurable, with the first section teaching readers how to scrutinize a painting in its entirety, before breaking down its cultural nuances based on clothing. With pieces by such artists as Elisabeth Vigée le Brun (think Marie Antoinette) and Marcel Duchamp (think Dadaism), there is a painting for every palette. Sometimes the most interesting aspect of fashion is not in its production, but in how it actually gets into the hands of shoppers. In Goodwill to Grunge: A History of Secondhand Styles and Alternative Economies by Jennifer Le Zotte, assistant professor of history and material culture at the University of North Carolina, Wilmington, garage sales, flea markets and thrift stores are under the microscope. The question posed is: What effect does thrift shopping have on trends and fashion passions? What happens when corporations like Goodwill Incorporated transition from supporting the needy to metastasizing into de facto boutiques that the rich plunder just to make a statement? The book is also ideal for the civically minded, as it ties its treasures to such movements as LGBTQ rights and anti-war crusades. The closing reminder is that, ultimately, second-hand stores are bastions of social and political expression. The Palace of Versailles has forever been a hothouse of intrigue, style and gossip. But on November 28, 1973, it doubled as a debutante ballroom for American fashion. Pitched as an event to restore the glory of King Louis XIV's palace, the night was a fashion super bowl with the Americans - Oscar de la Renta, Bill Blass, Halston, Anne Klein and Stephen Burrows - competing against the more established and revered French fashion houses of Yves Saint Laurent, Hubert de Givenchy, Pierre Cardin, Emanuel Ungaro, and Marc Bohan of Christian Dior. Such glitterati under one opulent roof was enough to cement the night in history, but what made it so memorable was the fact that America outperformed the French competition. Pulitzer-Prize-winning fashion journalist Robin Givhan captures all of this and more in Battle of Versailles, schooling readers in the little-remembered fact that, on that night, in the most Francophile of locations, American fashion was born. Depending on how one looks at the equation, fashion and art have either been bosom buddies from day one, natural allies or partners in crime. Art X Fashion: Fashion Inspired by Art by Nancy Hall-Duncan explores this relationship in terms of inspiration and production, examining how designers such as Elsa Schiaparelli collaborated with Dali and how Coco Chanel went from socializing with Picasso and his then-wife dancer Olga Khokhlova, to finding a reservoir of creativity to channel into garments. Lesser-known homages are also highlighted, such as the 1965 Mondrian Revolution brought to the fashion world by Yves Saint Laurent. Every collaboration described makes it evident that perhaps the relationship between fashion and art might actually be one of true love. Look closely at the cover of Fashion Victims: The Dangers of Dress Past and Present by Alison Matthews David and prepare for a little shock. Double dipping in the waters of the macabre and the magnificent, the academic text chronicles the gruesome, (albeit glamorous) history of clothing in how it relates to Death. Whether it’s abdomen-crushing corsets or strangulation scarves, (think Isadora Duncan), the reputation of clothing is revamped in all its plausible cruelty. But David’s scholarship goes beyond wearers who were killed by mercury-soaked garments and dancers whose skirts caught fire; she looks at how the manufacturing of fashion upped the body count as well, most famously in the Triangle Shirtwaist Fire of 1911. Anyone who reads this book will never look at fashion the same way again. The 1970s were a prism of iconic images, each flashing and flaunting themselves onto the other. Watergate, Bowie, disco, Jerry Hall, Rolling Stones, women's rights…the era had a distinctive flavor that gave it a bombastic reputation of plastic-on-shine excess. In Grit and Glamour: The Street Style, High Fashion, and Legendary Music of the 1970s, photographer Allan Tannenbaum looks at musical icons and cultural superstars, capturing their essence in black and white subtly, compartmentalizing pictures into such categories as street scenes, entertainment, nightlife and the arts. With accompanying commentary, no proverbial stone is unturned in this excavation of the decade. Gazelle glasses, suede Pumas with the thickest of laces, shearling coats, shell-top Adidas and leather jackets are all on display in Back in the Days with photography by Jamel Shabazz. The book zeroes in on the years 1980-1989, a bookmarked era when breakdancing and door-knocker earrings dominated the street scene. Each image is intimate in its focus on individuals who were from the streets versus random models plunked in place for the sake of some pre-Instagram era shot. The result is a capsule of vintage images that makes one almost hear the syncopated rhythms and beatboxing. Any reader wanting to know more need only read the text's tagline: “For anyone who wants to know what "keepin' it real" means, Back in the Days is the book of your dreams." To prove that there is no fashion aspect that is too small for examination, Barbara Burman and Ariane Fennetaux have written The Pocket: A Hidden History of Women’s Lives: 1680 - 1900. Listed as one of the top art books of 2019 by the New York Times, The Pocket is a nuanced text that graphs the historiography of this mini storage space that belies its apparent simplicity. Utilizing a gendered lens, Burman and Fennetaux reveal how the existence and the evolution of the pocket is directly related to feminine freedoms, personal stories and autonomy, reminding readers that the smallest fashion accouterments can have the biggest stories. Though she was the director of Elle España for eighteen years and Elle Decoración for seven, Susana M. Vidal might best be known for launching Ragazza while still in her twenties, making her the youngest director of any Elle sub-magazine in the world. Such credentials make her the ideal author for the book Mexican Style, a lush text that is touted as providing a "360-degree exploration of this mythical and colorful country [Mexico]”. She not only looks at the intersection of everything from chocolate to mezcal to the cinema, she also philosophizes over the impact of Dia de los Muertos and the ‘Frida effect’ on global fashion as well as personal style. Appropriately stocking-sized, the Little Guides to Style, Volumes I and II are perfect for the reader who wants to keep the expert words and advice of Christian Louboutin, Gucci, Prada, and Yves Saint Laurent in their back pocket. When examining the history of fashion, sidewalks are the most authentic of runways. Unbeholden to reviewers, critics and stylists, fashion flaunted along concrete is as idiosyncratic as it gets, with each person having the freedom to convey an anomalous, liberated message that is wholly their own. In the World Atlas of Street Fashion by Caroline Cox, extensive research and images reveal a globe where a sub-fashion such as the Harajuku styles are able to migrate to a city halfway across the world, finding new meaning in adopted cultures. Meanwhile, the punk aesthetic of one generation leapfrogs ahead to subsequent generations, espousing a new mode of anarchy. So, whether it’s the Cholo gangs of East Los Angeles or the Teddy Girls of working-class London, it is impossible to separate style from politics, though individuality is forever in the limelight regardless. Edited by Elizabeth Way, the Associate Curator of Costume at The Museum at FIT, New York, Black Designers in American Fashion extols the artistry and business savvy of underreported black designers throughout history. Her coverage runs the gamut from enslaved dressmakers during the eighteenth century to designers who clothed the Civil Rights movement. Names like Ruby Bailey, (a flamboyant multi-hyphenated designer who was also known for being a maestro with beadwork), Wesley Tann, (designer of the 1960s who incorporated such fabrics as Indian sari silks), and Arthur George “Art” Smith, (member of Modernist Jeweler Movement whose life is chronicled more deeply in Art as Adornment: The Life and Works of Arthur George Smith) fill the pages and critical gaps in American history. Fruits and Fresh Fruits make a cute couple. Authored by street photographer Shoichi Aoki and published by Phaidon, the books take a neon swan dive into Harajuku street culture, a sect defined by Gothic Lolitas and Manga-bright fashions. In Fruits, the Harajuku district of the early 1990s is captured in all its cartoonishly-cute couture glory. The book is named after the magazine, which was founded by Aoki, and showcased the essence of a culture that was a fusion of all things pop and all things youth. As Aoki writes in the forward of the first volume, Fruits is an amalgam of traditional “Japanese items such as kimono obi belts, kanzashi hair pins or geta sandals combined with Western clothes…even old second-hand kimonos were transformed into more modern-looking skirts.” In essence, the books, like the clothes, create a time capsule of brilliantly-colored nostalgia. ‘How to’ books rarely translate into scintillating fashion reads, making How to Read a Dress” A Guide to Changing Fashion from the 16th to the 21st Century by Lydia Edwards the rarest of delightful exceptions. Fashion has its own anatomy, with each century laying claim to the body in such a way that neophyte historians and expert couturiers can use this book to time travel and engage in hardcore research. The images are annotated, allowing readers to educate themselves on everything from sewing techniques to fashion trends to Récamier ruffles to corset stays. Authors Shane White and Graham White seemingly asked numerous ‘why’ questions as they conducted research for Stylin': African-American Expressive Culture, from Its Beginnings to the Zoot Suit (Revised). Recognizing that style and fashion concoct creative hurricanes against social, political, geographic and economic circumstances, they treat clothes and trends like evidence in a grand scheme of inquiry. As African American culture is frequently stolen, usurped or gorged on by mass consumerism, they remind readers that it is important to remember why Zoot suits were styled as they were, why Black hairstyles have often been elaborate, and why color has been such a dominant form of expression in the world of Black Americans. Their research takes the plunge in colonized Africa before moving on to modern-day American, elaborating on freedoms and emancipations evident in every cuff and thread. Marie Antoinette never stood a chance. Deposited like a dainty dessert onto a jaded French banquet table where the diners are all watching their figure, L'Autrichienne - as they derisively called her - had to mold herself to fit their appetites. This cosmetic transformation naturally involved a total wardrobe makeover, one that is documented in Queen of Fashion: What Marie Antoinette Wore to the Revolution by Caroline Weber. Weber gives a modern tilt to the biography, helping readers recognize that everything the young queen did and wore - from her elaborate pouf hairstyles that once featured a model ship to celebrate the French navy to her various ballroom disguises - were part of a carefully constructed persona, something contemporary celebrities can understand all too well. Fashion is not a democratic medium. For as long as clothes have been in existence, there have been rules and regulations that determine who can where what and when. Such rules are explored in Richard Thompson Ford’s Dress Codes: How the Laws of Fashion Made History. The Stanford Law School professor looks at the art of creating spectacle, examining how nobles from Tudor England to Renaissance Florence employed various materials and adornments to communicate that they occupied the uppermost echelons of society. But the book does not confine itself to courts and European noble houses; Thompson looks at the suits Black and Latino men wore during the early to mid-twentieth century to proclaim their individuality and freedom from racist rules, while also examining the taboo nature of tattoos before they became absorbed by the teenage status quo. In essence, fashion has always existed; it's the rules that keep changing. Fashion and cultural journalist Dana Thomas exposes the ugly side of fast fashion in Fashionopolis: Why What We Wear Matters. So popular that it was also released in a young reader's version, the book skewers fast-fashion juggernauts like Zara, H&M and Shein, exposing how such labels not only abuse laborers, but produce vast amounts of waste and pollution. Through her investigation, Thomas reminds readers of their responsibility as consumers, replaying the age-old adage that cheaper is not necessarily better, and that shoppers need to be hyper-aware of tawdry trends that gouge resources and toxify the planet. To keep eco-conscious shoppers from total despair, Thomas also spotlights companies that are doing the hard. work, utilizing fabric-recycling and sponsoring small, local markets to keep the beast of shallow consumerism from being fed. Since the Oscar’s debuted in 1929, they have been a nexus of glitz and glamour, with fashion-savvy thespians ready to show up and show off. Beyond the Best Dressed: A Cultural History of the Most Glamorous, Radical, and Scandalous Oscar Fashion by Esther Zuckerman and illustrated by Montana Forbes delivers the Academy Award sophisticated with the scandalous, highlighting such mega-watt stars as Halle Berry in the plum and floral gown by Elie Saab, which she wore for her Monster's Ball win. Salacious moments are also savored, such as Cher's so-called 'revenge dress’ that she wore in 1986 when she presented an award in the wake of not winning for Mask. The dress was her sartorial statement, a rebuke to the Oscar pantheon that had sent out a booklet on appropriate attire for the evening. The book also remembers Hattie McDaniel who wore a turquoise gown the night she had to sit at a segregated table despite her win, and Sharon Stone’s white Gap button-up shirt that she donned for the 70th Academy Awards. Every outfit is memorable, for reasons that range from cheeky to chic. The first word in the title of meXicana Fashions: Politics, Self-Adornment, and Identity Construction, edited by Norma E. Cantú and Aída Hurtado, immediately signals that this is a text where fashion is the tool of cultural examination. As the book immediately points out, the “term meXicana exalts the hybridity produced by la mezcla, the mixture, as essential to all that is Mexican-ness and references chicanismo to highlight resistance and creativity.” Identity is the book's zenith thesis, utilizing vignettes of mother and grandmother seamstresses to pinpoint the essence of family, while also including personal memoirs where bridesmaids recall the impact of fashion at weddings where a bride from the circum-Arctic Inuit people married a man from two separate Indigenous communities in New Mexico. Fashion is a compass and a catalogue, consistently helping the reader to revel in every iconoclast article of clothing. Fashion historian Ingrid Mida makes an encore appearance on the list with The Dress Detective: A Practical Guide to Object-based Research in Fashion. This beautifully illustrated text provides in-depth details helping readers understand that every stitch and every cut of a garment has both a utilitarian and a symbolic purpose. Analyzing everything from an 1820s coat to a 2004 Kenzo jacket, the book examines the methodology behind the designs and the art behind seeming practical decisions that are as fabulous as they are pragmatic. There are too many designer biographies for one list, but Hot Pink: The Life & Fashions of Elsa Schiaparelli by Susan Goldman Rubin ranks as it not only highlights Schiaparelli's panache for using hot pink, but as it also recognizes her as a designer who - much to Coco Chanel’s chagrin - championed many firsts. She was the first to craft “trompe l'oeil sweaters with collars and bows knitted in; wedge heels; shoulder bags; and even the concept of a runway show for presenting collections.” The book also investigates her gleeful collaborations with surrealist and dadaist eccentric masterminds such as of Salvador Dali and Jean Cocteau, making this a read that covers all artistic fronts. Author Dana Thomas has been an academic librarian since 2005, and it is that meticulousness that makes her the ideal author for such a book as Deluxe: How Luxury Lost It’s Luster. Rather than wax poetic about designers and socialites, she has delivered a witty overview of the demise of luxury as an elite concept, as an untouchable reality for many shoppers. Rather than applauding it’s availability to the everyday fashion denizen, she laments the fact that there is something vulgar in the creation of such concepts as brand awareness and advertising. With profits trumping quality, the lackluster world of designer fashions hasn't just come down a notch; it's fallen. The title - Latin American Fashion Reader - might sound a bit pedantic and academic, but the book itself is anything but. The text not only reminds readers that the cultural wonderlands of Mexico and Central and South America have always been ripe with color and vivacity, but with luscious creativity that Western designers too often have stolen outright without acknowledging the source of said inspiration. In these pages, authors look at the influence of Latin American textiles while also acknowledging the specific influence of jewelry and designs worn by Mayan woman. There are also essays investigating the Copacabana Beach swimwear, perhaps best associated with Carmen Miranda, and the guerrilla chic styles native to the streets of Buenos Aires. The title Dressed: A Philosophy of Clothes says it all. The book proposes that, while people might not hyper-analyze what they wear each day, clothing is still all about choices, and those choices reveal a tremendous amount about personal ideologies. When examining shoes, the author, Shahidha Bari, looks at Édouard Manet’s Olympia, appreciating how the delicate clogs at her feet would never fit her, rendering the mere physicality of standing up null and void, and her role in life to be one of supine pleasure. Madame X’s gown is also analyzed, as are the fur wraps in Peter Paul Ruben’s Helena Fourment in a Fur Wrap, keeping with the thesis that clothing is never arbitrary.

By Erin Moonyeen Haley The Microsoft Theater was abuzz and bejeweled thanks to celebrities striking a pose before enjoying the music at the 2022 America Music Awards on November 20th. With Wayne Brady as host, the night's crowning moment was when 17-time AMA winner Lionel Ritchie won the Icon Award. The event itself has long been host to glorious fashion moments. There was Justin Timberlake and Britney Spears in 2001 with their matching denim ensembles that called to mind Barbie & Ken in the most cutesy, kitschy of ways, and then Lizzo with her itsy-bitsy, Polly-Pocket-size purse. On the dramatically gilded side was Cardi B in 2021 in her Schiaparelli mask that gave the red carpet serious Eyes Wide Shut feels. This year, black, metallics and fuchsia dominated the carpet, along with slit skirts, sequins and bodacious jewelry. Puerto Rican performer Bad Bunny was among the most eminent artists, with eight nominations, one of which was for Artist of the Year. At the night’s end, he took home the award for favorite Latin album for “Un Verano Sin Ti” and favorite male Latin artist. Taylor Swift was another luminary, winning six awards, making her the "most decorated artist in AMAs history, with 40 career wins.” Pink opened the show and was followed up by Bebe Rexha, Imagine Dragons, Carrie Underwood and others. Fashion-wise, some stars - like Sheryl Lee Ralph and Meghan Trainor - rocked the Barbiecore look with head-to-toe pink, (including watermelon-pink slingbacks with bows for Ralph). Others, such as Sabrina Carpenter, tingled with silvery gowns reminiscent of avant-garde chandeliers. Dencia took the metallic look a step further, wearing a sculptured black and platinum cyber outfit that evoked robotic vibes. Kelly Rowland was a breath of burlesque fresh air in a cinched cheetah-print corset with an endlessly long train and leather opera gloves. Kim Petras wore a denim outfit from Bluemarine that elicited the campy mood of the early aughts, while Tinashe rocked Marc Jacobs while sporting Bjork buns so coveted in the late 90s thanks to Human Behavior. Other gowns flaunted architectural elements that made the fabric seem molded. For Karrueche Tran that look included a black flame shoulder flourish that was reminiscent of a Hunger Games gown, while Muni Long sported scalloped shoulders that blended into a mini dress. Becky G was a total 90s prom queen, also in a strapless mini dress, long train and coiffed hairdo. Stars like Mackenzie Porter and Ari Lennox swept across the carpet in romantic looks reminiscent of Grecian temptresses, with the latter wearing a cerulean blue Aliette that could have been custom-made for Calypso. Ever the va-va-voom chanteuse, Bebe Rexha sizzled in a red tulle gown that seemed like a wink to Winona Ryder’s Beetlejuice wedding dress. Kali Uchis went for a Moulin Rouge-inspired gown, complete with a scarlet corset and an elaborate feathered headdress. All in all, the stars sizzled and the music was perfection as it seemed to coax award season to linger well into the holidays. Sheryl Lee Ralph Kelly Rowland Machine Gun Kelly Pink Linda Wallem and Melissa Ethridge Becky G Meghan Trainor Carrie Underwood Dove Cameron Ellie Goulding Latto Beba Rexha Charlie Puth Liza Koshy Sabrina Carpenter Flo Milli Tinashe Kim Petras Niecy Nash Muni Long Karrueche Tran Ari Lennox Dencia Kali Uchis Photos courtesy of Vogue

By Erin Moonyeen Haley Their faces appear like the cosmopolitan relatives one sees only once a year, for they are too busy galavanting the globe, living the vagabond dream life. But, when they grace the family Christmas party at last with their presence, it’s with the chic nonchalance of an A-list cameo, complete with the cultivated style that the whole family drools over. For the Holiday Season 2022, Burberry - a line that has never shied away from using famous faces such as Cara Delevingne, Kate Moss and Emma Watson - has captured Shakira and Burna Boy for its campaign. In the video entitled “The Night Before”, Shakira gushes over the newness of the experience, citing the top-to-bottom creativity that manifests in an advertisement that delivers a narrative as much as a product. In one scene she’s striding across a table in lieu of an official runway; in another, she's pirouetting while books, violins and flowers in pewter vases bob around her in a posh psychedelic dreamscape. Remembering that Shakira is from Columbia - the place that nurtured magical realism to its full, whimsically quirky potential - the mix of the everyday with the fantastical no doubt appealed to the award-winning singer, as is evident by her insistence that she forever associates Christmas with magic. In photographs by Torso, (who also directed the video), the Dónde Están los Ladrones? singer wears a nude chiffon gown last seen on Lila Moss at her Met Gala debut. With a genie-in-a-bottle style ponytail, the gown’s sequins fit every curve, creating a draping look without unnecessary weight. When asked what she believes Burberry is synonymous with, the singer cites its elegance and simplicity, something easily seen in her naked dress photo as well as in the photo depicting her in knee-high boots and the eponymous Burberry house check coat draped over her shoulders in the typical New Yorker hurried-but-not-harried look. She is also seen clutching a bag with the same Burberry plaid print Nigerian-born Burna Boy also balances sophistication with playfulness in the Christmas campaign. While wearing the quilted nova check jacket, Burna Boy sports black angel wings as he traipses through the snow. Images courtesy of Vogue The ambitious campaign that mixes imaginary with realism comes on the heels of Burberry reporting sky-high revenues and higher-than-anticipated profits for the 2021-22 year. With such optimistic numbers, it is no wonder the luxury company is feeling giddy as it heads into the holiday season.

By, Andalamia Manakdan “A sunset backdrop nods to the close of one chapter, while evoking a sense of hope for the future,” said team Ebony when describing the imagery behind their November/December cover shot by Keith Major. The lighting is emulating bold, warm tones and the melanin is poppin’ as the cast stuns in wardrobes featuring complementary colors that are creating a perfect aesthetic balance. It’s giving volume and draping. It’s giving vibrance and hair. It’s giving elegance! This cover is meant to capture your attention from several feet away. Each castmate is also giving us a gateway into their personalities as they look into the camera in uniquely different ways, sharing what hope means to them with just one glance. Their silhouettes jump out of the photo and everything from the footwear to the up-does, from the posture to the tailoring, is elevating and feels affirmatively regal. Winston Duke (above) wears A September Man by Courtney Mays suit and a Romeo Hunte overcoat. "Ebony has always been one of those heritage magazines that gave us hope, that’s always been afro futurism, because it helped us see what we could be,” said Winston Duke while sharing what it felt like to be featured on the cover behind the scenes. We’ve seen an expansion of Afro-futurism in films the past few years and Black Panther was one of those trailblazers that pushed narratives celebrating Black voices forward. There has been a boom in Black creatives exercising their artistry as an act of liberation. Black writers have been designing their futures free of social limitations. 'Black Panther: Wakanda Forever' will make history just as the first film did and continue to open doors for films showcasing Black Excellence. Dominique Thorne (above) wears a Bibhu Mohapatra dress and UNOde50 jewelry. “The original already established a safe haven for Black brilliance and Black excellence, and an elevated telling of Black royalty,” said Dominique Thorne while discussing what it was like to be a part of the film. It’s true. We all felt it in the theaters. We felt that safe haven profoundly and have held on to it in hopes that the sequel will bring even more joy to communities around the world. Danai Gurira (above) wears a Hanifa dress and Bea Bongiasca earrings. There have been many theories about how the sequel will carry on after the tragic death of Chadwick Boseman. Some popular guesses include the next Black Panther being a woman. But who? Perhaps King T'Challa's younger sister Shuri or the general Okoye? Wouldn’t that be something? At the premier of the Marvel sequel, when asked why he chose Rihanna to sing “Lift Me Up,” a powerful ballad which serves as a tribute to the legacy of Chadwick Boseman, director Ryan Coogler told Hollywood Reporter that he was , “looking for artists who embody [the film] thematically,” said Coogler. According to Hollywood Reporter, the songs on the soundtrack will be incorporated into the score throughout the film. Letitia Wright (left) wears a Jason Wu dress and Misho Designs jewelry. Lupita Nyong’o (right) wears an Azzi & Osta dress. At the red carpet premiere of 'Black Panther: Wakanda Forever' in New York, Ebony correspondent Yonathan Elias asked Lupita Nyong'o, "how does it feel for Black Excellence to celebrate Black Excellence?” Nyong'o shared that she used to read Ebony Magazine at beauty salons in Kenya growing up. This puts into perspective how important Black owned magazines are from a world view. It’s that indescribable feeling that one gets when they’re at a supermarket, a doctor’s office, a barbershop, or any location where there is a soft surprise of electrifying comfort after connecting with a magazine that features someone who looks like you on the cover. It’s even more spectacular when they look as regal as this cast does on the November/December Issue.

By Erin Moonyeen Haley The Philadelphia Museum of Art’s recently unveiled exhibit, Matisse in the 1930s is drawing fresh attention to an artist whose relationship with fashion has always been tangential and impactful, a kind of energized friendship between two colorful and flamboyant friends. While the thesis of the exhibit is to explore “a collection of the legendary artist’s work during a decade of artistic exploration—from experimentation to failure, to renewal” its focus is on The Dance (1930-33), a work he was commissioned to complete in the Barnes Foundation main gallery, one that electrified the artist out of an atypical creative slump. While The Dance might be heralded as the ne plus ultra of the exhibit, Matisse's patterns, colors and texturized imagination featured throughout the museum recall haute couture designers who have always channeled the artist when in the midst of their own creative frenzies, making Matisse a zeitgeist beyond the canvas. For the Autumn/Winter 1981 exhibit, Yves Saint Laurent flaunted Matisse's colors and designs down the runway, drawing particular inspiration from Matisse's The Sheath (1953). The childlike fronds and primary color palette decorated skirts and sweeping dresses, all of which paired perfectly with the early 80's makeup trends of bold iris-purple eyeshadow and cherubic cheeks in dusky pink and rose. The Yves Saint Laurent Spring/Summer collection from 1992 harkened back to Matisse's time in Morocco in 1912. Meanwhile, designer Vivienne Westwood channeled Matisse's Femmes et Singes (Women and Monkeys), 1958, in her "Nostalgia of Mud" collection, from Fall/Winter 1982-1983. The collection name was in honor of a shop Westwood co-owned in the early 80s, where the architecture consisted of plaster designed to make the opening look like a muddy cave entrance. In 2006, Vera Wang forged an oddball inspirational coupling. Simultaneously drawing from the then-hit show Deadwood and Matisse, Wang declared that her intention was to go primitive, to showcase how Matisse's"models dressed not unlike the female characters on that show." The result was iridescent chiffon nightgowns, uncomplicated silhouettes, salopettes, farmers' shirts, and textures and colors that drew from Matisse's own time as well as from the raw and unfiltered looks of the gritty western. Perhaps most surprising is the fact that Matisse's paper cut-outs have been used as inspiration for wedding gowns, such as in Carolina Herrera's 2006 Bridal collection. Of course, Matisse's designs still burst onto the everyday with color and whimsy; he's been an inspirational lightning rod for even day-to-day looks for the likes of such stars as Lady Gaga. The gift shop of the Philadelphia Museum of Art is itself now home to Matisse-inspired designs and frocks, allowing art junkies, fashion lovers and Matisse fans to indulge in the cross between fashion and art at their own discretion. Images courtesy of the writer, Vogue and Instagram.

By Erin Moonyeen Haley It was a night of celestial bliss as the stars turned out in force for the 11th annual LACMA Art + Film Gala. Elegance was the evening’s leitmotif, with sequins and Gucci, (and sometimes a cocktail mix of the two) as a consistent undercurrent. Sponsored by Gucci, the Los Angeles County Museum of Art hosted the event on November 5th in honor of those on the vanguard of creativity and ingenuity throughout the industry. Co-chaired by Leonardo di Caprio and Eva Chow, (LACMA board member and recently christened 'Culture Queen of Los Angles'), the event put artistry and daredevilry at the forefront, a philosophy punctuated by a closing musical number by none other than Sir Elton John. Among the honorees were Helen Pashgian, an artist known for her work with industrial materials, and whose process is dissected and investigated in the short documentary Helen Pashgian: Transcending the Materials. (Photo courtesy ofThe Los Angeles Times) South Korean film director, Park Chan-wook was also honored that night. While his copious films have been credited with putting South Korea on the cinematic map, he is also known for subverting such cliches as the 'detective' trope and for engaging audiences and critics with equal aplomb. (Photo courtesy of Vogue) Though some stars wore Yves Saint Laurent and Anthony Vaccarello, Gucci was the dominant designer, creating a consistent display of class and polish, with understated silhouettes and accented necklines. Jewelry was minimalistic, creating a fresh-faced, uncluttered ambiance that centered the outfit. Paris Hilton, Heidi Klum and Stella Maxwell all got leggy in satin and sequined numbers with careful slits that flaunted as much or as little of thigh as deemed necessary. Colorwise, green seemed to dominate the oceanic stretch of carpet, with stars like Thuso Mbedu wearing seagreen sheer underlayers topped with an emerald mermaid-style bralette and a siren's skirt. Julia Garner, (also in Gucci), stunned in a parakeet-green Art Deco number with black sequined shoulders that screamed Dietrich, leaving Lindsey Vonn to look striking in a double-breasted, aqua-green pinstripe suit. While Sandra Oh channeled florals with three-dimensional flourishes flitting about her like errant faeries, Mariacarlo Boscono gave off a seductive superheroine vibes thanks to knee-high red boots. Meanwhile, Jodi Turner-Smith was simply resplendent as she reincarnated the flapper look of a girl determined to encourage the fashion world to become tipsy on Egyptology in the wake of King Tut's excavation. Carey Mulligan was a chandelier incarnate in drapes of silver and black tassels and beads. Salma Hayek stunned, (as always), in an ombre gown that scintillated from mint to seafoam and ending in a soft peach. Sydney Sweeny was an artful ballerina in pompoms of cotton-candy pink. For actress-director Olivia Wilde, siren Janelle Monáe and singer Addison Rae, nothing said 'elegance' better than sequins and scintillations of shine. In tuxedos ranging from bronze to black to sapphire, actors didn't shirk from the idea of glam either, delivering glitz every step of the way. Photos Courtesy of Australian Vogue

By Erin Moonyeen Haley Shoes, history and psychology are having something of a ménage à trois moment. At New York City's Fashion Institute of Technology (FIT), the exhibit, “Shoes: Anatomy, Identity and Magic” has created a showcase that relishes the historical, cerebral and emotional relationship between people and shoes. According to Valerie Steele, Director of the Museum at FIT and curator of the exhibit, the three-pronged approach is intended to prompt metacognitive soul-searching. Steele elaborates that this “‘‘embodied turn’ in fashion studies has brought renewed attention to the intimate relationship between body, dress, and sense of self...we are inviting visitors to ask themselves, which shoe are you? Hence our three, somewhat mysterious-sounding themes of anatomy, identity, and magic.” More than 300 pairs of shoes are on display, all culled from the 5,000 pairs of heels, boots and sneakers that make up the permanent collection, which goes by the sobriquet, ‘the closet’. Stationed in the museum’s basement, the beginning of the show opens with infant shoes, an apt metaphorical salvo that begins a biographical tale with shoes as the storytelling vehicle. The thesis of the exhibit is about shoes’ omnipresent importance despite their overlooked regularity in life. For instance, the Doc Martens embody the edginess of the night prowler headed to a rave, (or a tattoo parlor), while the Gucci sneakers signify the chic athlete. Ultimately, the showcase is all about the signifier and the signified. Shoes are revered as objects of desire, as the idée fixe of not only the outfit, but the person themselves. It is this emancipating magic that transcends reality for fantasy, which in turn favorably flaunts anatomy, unfurling identity and the magic of altered identity with every assured step. The collection breakdown is as follows: ~ Anatomy understands posture and movement; how high heels alter a walk differently than sneakers ~ Identity zeroes in on what archetypes automatically attach themselves to what shoe. For instance, the skyscraper high heel might conjure images of the femme fatale whereas the sandal signals a carefree summer sprite. ~ Magic embraces the notion that shoes are talismans, capable of transforming the wearer into Cinderellas or athletes in peak condition. No matter the categorization, every shoe in the collection is capable of transforming the wearer and viewer to somewhere else entirely. Gladiator-style sandals by Versace conjure early-90s vibes. Ruby red slippers, drag queen style. Lipstick-red boots that channel a distinctivly Kinky Boots attitude. Gold lame boots that are always made for walking. And on and on it goes... Images courtesy of FIT

By Erin Moonyeen Haley Musician,Vogue cover girl frequent flyer, and Fenty Beauty and Savage X Fenty entrepreneur, Rihanna, is set to launch Volume 4 of her Savage X Fenty fashion experience on November 9th. For those unable to indulge in the extravaganza in person, Amazon is going to be streaming the unscripted, unfettered, Emmy-award-winning bacchanal from its location at the South Coast Botanic Garden in Palos Verdes Estates, California. With more than 240 countries set to tune in, this year’s performers include Anitta, whose Instagram thrilled fans with sneak peeks of her upcoming performance. Wearing head-to-toe fishnets and luscious layers of leather, pictures showed the singer serenading from a stage offset with the illusion of a setting sun, whereas others featured her coyly frocklicking in the woods. With models like Precious Lee, Cara Delevigne and Irina Shayk set to appear, Riri's show is destined to resolidify Fenty's supremacy in the star-studded fashion celestial sphere. Images released to Vogue show fashion at its edgiest and finest, especially with the profusion of faux leather catsuits, lace-up busters, jewelry by Reza, garter belts and size-inclusive lingerie crafted to display the body like candy for every appetite. Dance will clearly occupy an artistic sweet spot, as is evident by model Jeff Logan standing amid dancers about to launch into a tightly choreographed number no doubt fueled by music born from the techno-spliced-with-hip-hop sonic hyperspace. Other photos show dancers moving in a frenzy that is both methodical and hedonistic, calling to mind the dual precision and sensuality of Janet Jackson’s If. Back in model world, Delevigne stuns in a sculptured hairstyle reminiscent of Rose McGowan's in the dystopian fantasy Conan the Barbarian (2011). With bleached eyebrows, winged eyeliner and luminescent lips, she appears moon-kissed if a little too naughty to be heaven-blessed. Thanks to a thematic mashup of futurism and cyberpunk, along with choreography that keeps the show kinetic and fueled with momentum, this is set to be an event that makes one ask, “Victoria’s Secret who?” Images courtesy of Vogue and Instagram.

By Erin Moonyeen Haley Valentino’s oeuvre was lionized in an extensive exhibit at M7 in Msheireb Downtown Doha, a hubbub of design ingenuity and forward-thinking fashion. In the words of Valentino’s Creative Director since 2008, Pierpaolo Piccioli, the exhibition was designed as “not a retrospective, but a perspective.” This cognizant and prescient approach was the guiding principle that Piccioli, Italian curator Massimiliano Gioni, and British fashion critic and author Alexander Fury used when designing the immersive experience. In past articles, Fury especially has spoken of Valentino being a 'couture bender' who allows viewers to find inebriated, bacchanal bliss in the beauty. Such is the intention at 'Forever Valentino'. To achieve such immersion, the layout essentially “builds a dream-like image of the city of Rome, guiding viewers in and out of palazzos, squares, and courtyards, while simultaneously allowing exclusive access to secluded, intimate spaces.” The experience is not only in honor of Valentino's 90th birthday but is also intended to help launch Valentino's Haute Couture Collection, aptly titled "The Beginning." The dresses themselves are starbursts of color, especially when offset against photos of celebrities of yesteryear who made the designs famous originally, cementing the idea that Valentino and the maxim 'la dolce vita' were born to perfectly dovetail each other as style concepts. There are over 200 pieces in the collection, making it the largest to be on display in the Middle East. Stars and fashionistas came out in full force for the opening of the event, with Naomi Campbell as the standout, wearing bright pink Valentino couture that was almost Lewis Carroll-esq with its whimsically petaled headdress. All manners of pinks and reds dominate the exhibit, with ruffles and waterfalls of peplums accentuating every curve and silhouette, ultimately emphasizing what Piccioli stressed was Valentino's obsession with, "la magia della moda—the magic of fashion.” The exhibit runs until April 2023. Images courtesy of Vogue and Maison Valentino Instagram

By Erin Moonyeen Haley This November, Black Panther: Wakanda Forever takes up where the first movie left off, with a bittersweet nod to the insanely talented Chadwick Boseman as the warriors of his technologically-sleek utopia seek to defend and preserve their kingdom after the cataclysmic death of King T’Challa. It goes without saying that the death of Boseman was a massive heartache, as his charismatic persona infused the MCU hero with gravitas and magnetism. With his spirit very much alive, Hollywood’s finest showed up at the Dolby Theatre in Hollywood in all manner of glitz and glamour, paying tribute to the titular actor while also ensuring that one of the most sophisticated worlds in the Marvel franchise resurrected itself amid the strobe lights and flash of paparazzi bulbs. With her single “Lift me Up” dedicated to Chadwick Boseman’s legacy, Rhianna’s ballad has been equally long-awaited. The song itself is stripped down for a song in the Rhianna oeuvre, forsaking synthesizing clutter for an accompanying choir amid haunting lyrics such as “Lift me up/Hold me down/Keep me close/Safe and Sound”. For the event itself, Rhianna opted for a Rick Williams wrap-around sequined crocodile-olive-gray dress that only recently debuted on the runway. The tight bodice loosened to a deflated hula-hoop at the hips, with a futuristic cut thanks to exposed seams and clay-colored opera gloves that molded to the chanteuse from fingertips to upper arm. Her hair hung loose in sculpted, beachy waves which, when tucked behind the ear, revealed REZA black rhodium Ruban earrings that were styled as an earcuff. The singer posed with Simone Ledward-Boseman, who, like others in the cast, wore white - a color worn during some funerals in Africa. The gown itself had a deep sweetheart neckline and sweeping skirt that created a floating effect as she moved across the purple carpet. Looking at stars like Danai Gurira and Angela Bassett, it's no wonder that fashion mags like W have decreed that the Black Panther cast is among the best dressed in the superhero stratosphere. Taking the violet overtones of the Black Panther world as inspiration, many of the cast wore the stirring shade. Danai stunned in a Robert Wun concoction that was a melange of designs and cuts thanks to a pleated, accordion-style skirt and dahlia-petaled layers that flounced from shoulders to naval. Angela Bassett was a statuesque runway queen in Moschino. The strapless gown - which was a colorized mix between sangria and magenta - was eye-catching on its own, but paired with the crepe-paper style ruffles across the bodice and the top-layer peplum skirt, it was clear she was doing her Queen Ramonda alter ego justice. The slit on the longer skirt perfectly revealed La Silla heels in the same berries-and-merlot shade as the gown. Letitia Wright provided a purple respite by wearing an Alexander McQueen Spring 2023 tuxedo. Her suit was an intentional and loving nod to a suit that Boseman himself wore in 2018. Crystal harness embroidery in the front and back created a delicate opulence, while the Punk Chelsea Boots balanced the delicacy with defiance apropos to Shuri's determined demeanor. Abbott Elementary sweetheart Quinta Brunson traded in the utilitarian teacher digs for a dress that was pure black tie affair. Her denim-blue velvet gown was wrapped, Grecian style, in gold lamé, giving it a disco fever from bodice all the way to the tips of the pleated skirt. Lupita Nyong'o glowed in a white Balmain gown whose tight, wrapped skirt hinted at Egyptian queen vibes. With its symmetrical cutouts and one shoulder strap, the dress was paired with an intricate seashell crown and diamond earrings. Dominique Thorne was tapping into the 'girls just wanna have fun' vibe, with a cindi-lauper-pink tulle gown that floated all around her like sweet sixteen streamers. Paired with elbow-length black tulle gloves and black stockings, there was nothing but celebration in the air. (Jemini Powell) (Chloe and Halle Bailey) (Michael B. Jordan) (Tessa Thompson) (Tyler Perry) (Michaela Cole) (Alex Livinalli) (Amaarae) (Winston Duke) (Daniel Kaluuya) (Mabel Cadena) (Zinzi Evans and Ryan Coogler) (Elsa Majimbo) (Sheryl Lee Ralph) (April Reign) (Mercedes Varnado) (Grace Africa) (Auli'i Cravalho) (Coco Jones) (Princess Love) (Xochitl Gomez) (Images courtesy of Teen Vogue and W)

By Erin Moonyeen Haley In the film Mean Girls (2004), protagonist Cady Heron schools the audience on costume etiquette: “In Girl World, Halloween is the one day a year when a girl can dress up like a total slut and no other girls can say anything else about it.” In the stratosphere of celebrity where budgets have the largess of the MCU franchise and imaginations are equally epic, costumery is less about Scarlet Letter slurs and more about extravagance and unforgettable impressions. The potent alchemy of fame, wealth and access to the virtuosos of wardrobe and makeup makes ‘Celebrity Halloween’ its own supersized subculture, one that offers mere mortals endless inspiration for gawking first and mimicry second. There are certain costume savants that always stand out. While the Kardashians never forgo on an opportunity to command campy attention, - think Mars Attacks and a vampy take on Cruella de Vil - both Ciara and Cardi B have elevated the act of dressing up to the sophisticated art of total transformation. (From Kendall to Kim, the Kardashians channel many a pop culture muse every Halloween.) (Ciara's take on Cardi B. and Selena is authentic beyond belief.) (Cardi B. amplifies the siren in any look.) Even Ariana Grande has elevated her Halloween game, turning photo ops into vintage Creature From the Black Lagoon movie posters. Of course, celebrities who are in couples never miss a chance to coordinate and choreograph their Halloween evening, optimizing attention and envy. Celebrities also prove that one doesn't have to be a couple to have an ensemble costume. Just look at the cast of Riverdale and their Powederpuff Girls look. It’s safe to argue that much of the Halloween fever has been fed by none other than supermodel Heidi Klum. Her devotion to the holiday has made her a cross between a mascot and a patron saint, with a self-designed rubric that favors over-the-top effects over sexy, even when playing doppelgänger to the cartoon sexpot Jessica Rabbit. As for her other costumes, there are far too many to praise in one sitting. Whether it's channeling one's inner Betty Boop, dressing up as pop princesses such as Britney Spears and Nicki Minaj, summoning the horror titans of yesteryear with Hitchcockian tributes or reminding audiences that Scarface is still a phenomenal source of ingenuity, checking out celebrity costumes can only lead to fresh dressup ideas for 2022 and beyond. (Chloe Bailey) (Hailey Bieber) (Nas X) (Reese Witherspoon) (Olivia Rodrigo) (Chloe Bailey) (Rhianna and friends) (Bella Hadid) (Mr. and Mrs. Jonas as Mr. and Mrs. Addams) (Megan Thee Stallion) (Kendall Jenner) (Bella Hadid) (Chrissy Teigen) (Willow) (Lizzo) (Nina Dobrev) (Gigi Hadid) (Beyonce) (Halsey) (Harry Styles) (Emily Ratajkowski) (Kerry Washington) (Heidi Klum again...) (And again...) Images courtesy of Vogue and Instagram)

By Erin Moonyeen Haley Once upon a time, (well…last August), at the Lombardi House in Los Angeles, an iconoclast pixie in the fashion world by the name of Betsey Johnson celebrated a remarkable milestone. Not only was the fashionista celebrating her 80th birthday in an industry with the vampiric tendency to devour its young-albeit-aging, she was also toasting a platinum career, one that saw her joie de vivre brand as being synonymous with all things retro, spunky, ravishingly gaudy and defiantly optimistic. Those who couldn’t attend her birthday bash, (which included statuesque pink flamingo decor and hunky shirtless male models) can still channel the signature Betsey kitsch for the holiday season with her line of novelty bags. In actuality, the word ‘bag’ is too pedestrian for the fare on offer. In the Kitschy Collection, purses and clutches are works of art that represent moods and holidays; fetishes and splurges, passions and daydreams. Looking at the online catalog, it is obvious that Betsey is a curator of the razzle-dazzle; of embellishing the ordinary by taking ho-hum items and overlooked accouterments and elevating them to pedestals of glitz. Her designs cull inspiration from life’s sundry details, crafting bubblegum-flavored art where others might only see a bland necessity. The result is a spectacular shopping list: Christmas-themed bags that include bedazzled flamingos and tiered presents offset by Halloween styles for the Wednesday Addams patron who prefers purses shaped like poison bottles and ouija boards. The bags cover all ends of the frivolously fun spectrum, taking the shape of credit cards, champagne bottles, to-go coffee cups ('cup o' Betsey'), martini glasses with plump olives and television sets complete with remotes. There are even bags that channel 90s pop culture and snack foods. With such a selection, it will be easy to cross off holiday lists and still have time for treating the self. Shop online at Betsey Johnson Collections & Accessories