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Celebrity colorist Tracey Cunningham, who is most recently responsible for Lady Gaga’s turn as a brunette in A Star Is Born, and for returning Riley Keough’s lengths to their natural state of red, just announced her latest venture: a super-discreet salon located inside the new Waldorf Astoria Beverly Hills. “I’ve wanted to have [my own] salon in a hotel ever since I started watching the ’80s TV show Hotel,” she says of the big-name, big-headline type of behind-the-scenes activity that only exists inside such luxury properties. Not that Cunningham, who also co-owns Los Angeles’s Mèche salon with stylist Neil Weisberg, and regularly jets between Dubai, Europe, and the Kardashian compounds in Calabasas, California, is short on entertainment. Tucked away on the hotel’s mezzanine floor, accessible via a private elevator that requires key card access, the jewel box salon has just five chairs, along with an even tinier private room for V-VIPs. Both offer styling, cutting, extensions, and, of course, coveted color consultations with Cunningham. Though the salon seems destined to act as home base to Hollywood actresses and power players, “[Still,] the whole experience is very house call-y to me,” says Cunningham of the private nature of the space—a rare thing in Los Angeles, where paparazzi are set up outside every celebrity salon and spa. Actress Maria Bello, a client, agrees: “[It] is very low key,” she says upon arrival for her inaugural coloring session. Once seated in the Art Deco–inspired interior—the hotel’s design is a nod to both old-world Hollywood glamour and the Streamline Moderne style of the 1930s—clients like Bello and Dakota Johnson can sip on a fresh juice; order a cocktail from the rooftop bar, which overlooks the hills and downtown Los Angeles; or have food sent up from the Jean-Georges Vongerichten restaurant, the Parisian’s first outpost in Los Angeles, which is located on the ground floor. Cunningham’s involvement with the West Coast hotel, which is at the intersection of Wilshire and Santa Monica Boulevards, essentially the gateway to Beverly Hills, also marks a return for the Waldorf Astoria as a go-to spot for hair. The New York landmark, which is currently closed for renovation, housed the iconic Kenneth salon from 1990 until 2015 and counted Jacqueline Kennedy, Brooke Astor, and Babe Paley among its devotees. And while Cunningham has her sights set on opening a sister salon in the soon-to-be renovated hotel on the East Coast, until then, she says, “I think clients like to check out the newest thing—and this is definitely it.”
As a supermodel, Kendall Jenner may not have the average nine-to-five schedule, though that didn’t stop her from offering what could be considered the ultimate working wardrobe inspiration earlier today in New York. She was photographed leaving her apartment suited up in a rust-colored blazer and matching trousers that gave new meaning to borrowing from the boys. She kept her look from seeming stuffy thanks to a few clever details, starting with a vintage Louis Vuitton fanny pack draped across her chest. The throwback accessory has become something of a signature for Jenner and she’s toted similar styles by Chanel and Prada before. While the jacket was worn intentionally oversize, the sleeves hit at the right place to reveal a simple knitted long-sleeve T-shirt underneath—a far cry from button-down shirting as usual. The same could be said for her pants, which in a cropped length, read more like pajamas than trousers. Optic-white tennis shoes tied in nicely with the pinstripe on her Wolk Morais suiting, with mahogany-tinted sunglasses to match her carrier; a chic solution to a case of the Mondays, no matter what the profession.
From her high ponytails and Clueless-inspired hair accessories to her denim-on-denim fashion looks, Bella Hadid has become an unwavering poster child for the ‘90s revival. And her latest move—posing the scrunchie as a street style statement—is no exception. During an appearance for Nike at L.A.’s The Grove over the weekend, the supermodel slicked back her shortened strands into a white, scrunchie-adorned half-up tie-back, pairing it with the sportswear label's bra and under armour, which poked out of matching training pants, and was accessorized with gold earrings, oval tinted shades, and, no surprise, her rock-solid abs. The latest fashion girl to resuscitate the polarizing hair relic (it's also got the Lily-Rose Depp tick of approval), Hadid champions it as the proverbial cherry on top of a head-to-toe athleisure look. In fact, with the Nike Cortez campaign star's endorsement, it may be well on its way to becoming a streetwear staple. But given that Hadid’s chiseled core wasn’t built in a day, perhaps the biggest draw is that with a little help from a boar bristle brush, the floaty accessory conceals all the tell-tale signs of gym hair—not to mention summer sweat.
Fundamentally, the job of a new creative director at a heritage brand is to figure out what makes the brand tick—the stuff that people know it for—and then decide how to contemporize those codes, make them freshly relevant. A truly genius creative director uses his or her fluency in the brand vocabulary to write an entirely new chapter for the house. Fran Stringer, not quite a year into her tenure at Pringle of Scotland, has definitely got the first part down: As her latest Pringle collection demonstrated, she’s done her time in the archives, has keyed into the Pringle identity, and is coming up with ways to refresh it. That was notably apparent in this outing’s range of technical knits, including the bell-shaped dresses and separates in double-faced merino, which riffed on Pringle’s long-standing expertise in knitwear, and found a new outlet for it in modern, sculptural silhouettes. There were other nods to the archive here—vintage floral prints, undyed looks that hearkened back to Pringle’s history as a maker of nightdresses and long johns, merino sweats, and seamless nylon macs with a sporty mien. The primary colors, too, paid respect to the Pringle legacy: At an appointment today, Stringer called out a few images on this season’s moodboard, shots from 1960s-era Pringle ad campaigns, featuring cheerful models in brightly colored sweaters. Seeing those shots made you realize the degree to which Stringer is reworking the house’s default mood—clean-scrubbed and preppy dispensed with in favor of a Zen-like tone. It’s in that change of attitude that you can detect the beginning of a new chapter for Pringle. Whether Stringer—a designer with a sure hand, and an appealing sensibility—has the genius to make that chapter feel truly distinctive remains to be seen.
As you might have guessed from everyone in your Instagram feed power-posing next to Gal Gadot posters en route out of the theater, Wonder Woman won the weekend box office, earning an estimated $103.1 million in North America. It’s the highest-ever opening haul for a woman-directed film, a triumph for director Patty Jenkins, and some cold, hard proof of the the power of the woman moviegoer—a reported 52-percent of the film’s audience were women. As MakeLoveNotPorn’s Cindy Gallop tweeted today, “There is a huge amount of money to be made out of taking women seriously.” Hysteria has broken loose over the film; hot takes are lighting up Twitter. But Wonder Woman’s success may matter most for the same earnest, emotional reason why little girls dressed up in Wonder Woman headpieces are warming the Internet’s snarky heart: we really needed to see a superheroine right about now. As obvious as it may seem, representation matters. As the American activist Marian Wright Edelman once wrote, “you can’t be what you can’t see,” and, frankly, even in 2017, women (woefully) still don’t see enough of themselves in many of the traditional, high-profile spaces that signify power: not in the U.S. presidency (see: election, 2016, despite 3.5 million more Americans voting for the woman candidate), nor in the corner office (only 4-percent of Fortune 500 company CEOs are women ), nor in sports broadcasts (despite the ever-growing, Title IX-fueled popularity of women’s sports, they are covered less on TV now than 20 years ago; we get heroines like Simone Biles in primetime once every four years) or, of course, on movie marquees. It took some 75 years for Wonder Woman to become a feature film, even as countless often terrible superhero movies were green lit every summer since forever. That Wonder Woman was so successful, that it “made it”—and that so many women made it so— is proof positive: we want and we need to see ourselves kicking ass like we know we can. And, of course, men and boys need to see it just as much. It’s the reason why kids (both girls and boys) skipped school and drove through the night to see the U.S. women’s soccer team’s ticker tape parade through New York after winning the World Cup; why women (in particular, it seemed) broke down in tears the day after the last Election Day, and why people geeked out over Charlize Theron in Mad Max. All of our strides considered, sometimes we’re still starved to be seen, and it’s still cause for celebration when we actually are. Sure, Wonder Woman isn’t perfect—though it might be worth noting how that's a disclaimer required mostly for woman candidates and woman stars, while male flaws are just part of the package. One think piece weighs whether Wonder Woman fancies itself more feminist than it really is; another article notes that Gadot’s leathery bodice remains highly impractical and over-sexy for the grueling, sweaty work of saving the world. But, really, it doesn’t need to be perfect. Thanks to Wonder Woman’s success, Hollywood is going to make a slew of other woman-led movies; some will be good, some will stink. But before long, they won’t need to be a special occasion anymore. That's winning.
Scott Rudin was like the genial father of the bride on Sunday night at Aureole, as he played host and celebrated four of his Broadway shows from this season: Hello, Dolly! The Front Page, The Glass Menagerie, and A Doll’s House, Part 2. The prolific producer admitted that coaxing Bette Midler to take on Hello, Dolly! was especially meaningful because as a young boy he had seen the show with Carol Channing and Pearl Bailey. And it wasn’t always a sure thing. Rudin confessed that it “took a long time to get her to say yes.” Yet, even though the Divine Miss M wasn’t signed on, she did a ton of research, including working on the score for months. Even though the Beaches star is widely tipped to pick up a Tony next week, Rudin demurs. “I don’t know anything!” he exclaimed. Dolly director Jerry Zaks described Midler as the “hardest worker I have ever spent time with. Actually, she has about the same degree of dedication and relentlessness as Nathan Lane. They’re both tireless in the pursuit of getting it right.” Laurie Metcalf revealed that she’s going to be wearing a Christian Siriano dress to the Tonys that the designer generously gave her. “He made my dress for the last Tonys,” she explained. “He came to see Misery last year before the Tonys and sent me word that if I ever needed anything from him, he was more than happy to help—and he has. His clothes are very comfortable. Both dresses are very different. I like to be surprised by him.” David Hyde Pierce has definitely not been going for suit fittings. The Dolly star confirmed that he’ll be wearing the tux currently hanging in his wardrobe, which he wears to every black-tie event.
From Bella Hadid's clavicle-grazing lob to Kendall Jenner's sleek chop, the bob is summer's hair look of the moment. But after a brief brush with the style, Selena Gomez is dramatically changing course, trading the chin-length brunette layers she debuted earlier this spring for a shakeable, unapologetically long take on bombshell brunette this past weekend. The pop star was spotted again in Manhattan this morning with her new soft and glossy extensions parted at center and left to catch the breeze for a scene-stealing look that rendered accessories unnecessary. Aside from the dusting of mauve eyeshadow that crept toward her full brows, and a nearly natural pink lip, Gomez let her free-flowing hair speak for itself, allowing it to cascade over shoulders with a few choppy, face-framing layers furthering the bohemian effect. If a hair cut is the beacon of a life changed, then perhaps a bold new length is a sign of one that's glamorously grounded. Selena Gomez on Family, Obsessions, and Her Go-To Dance Moves
When we say goodbye for a long weekend, we are faced with a surprise beauty beat from the young beauty icon Kylie Jenner.
Jenner's latest Instagram sharing has revealed the most natural and true state of beauty guru. Although we have seen Jenner's natural state many times before in the Snapchat stories, Kylie's recent Instagram sharing clarified all the discussions on hair color, lip aesthetics and other beauty tricks.
Jenner, a wig obsession and 24-hour beauty changes, wondered about her real hair, while she shared her natural dark hair on her vestibule, the scattered pockets of beauty stars did not escape the eye.
Jenner, who was associated with the new generation rapper Travis Scott, made us a fresh start with the beauty of '' no make-up ''.
Kylie's secret underneath this beauty was a healthy, glowing skin. Kylie's indispensable beauty was her long eyelashes. Kylie Jenner, surprised by his natural and minimal beauty attitude, was the last face to bring beauty to his beauty.
Gigi Hadid has adapted from sunny SoCal to New York's constantly changing climate, and her closet is all the better for it. From safari-inspired suiting on a stroll with her boyfriend Zayn Malik to Burberry’s DK 88 bag in millennial pink, the 22-year-old model has tested a number of unexpected silhouettes and materials. Last night saw Hadid make waves in a new take on preppy style. Hadid has already put a youthful slant on Sloane Ranger dressing, swapping out the haute jacket for a hoodie, but yesterday’s bold stripe top and distressed white jeans felt like a fresh riff on a classic New England wardrobe. Hadid’s round-rimmed sunnies played off the pattern, while Nicholas Kirkwood’s pointy-toe flats acted as a directional spin on the classic driving moccasin. Gigi Hadid on the Inspiration Behind Her Met Gala Dress
Last night in Washington D.C., Melania Trump attended the Ford Theatre's annual gala with her husband. The First Lady eschewed her wardrobe of sharply tailored coat dresses and suits for a softer silhouette from Monique Lhuillier. Fresh from the brand's new resort collection, the champagne-colored dress was Grecian in feeling with subtle pleat work and demure draping. It was a quite departure from the vibrant hues that Trump has been wearing lately; she donned a cornflower yellow Christian Dior to meet the Australian Prime Minister and a raspberry pink frock on her tour of Saudi Arabia. Trump kept the neutral theme through the accessories with coordinating Manolo Blahnik stilettos. Tom Brady & Gisele Bündchen on Being Co-Chairs at the Met Gala