अलाया फर्नीचरवाला को इस कातिलाना लुक में देख सारा-अनन्या को भी होगी जलन February 26, 2021 at 09:31PM

बॉलीवुड एक्ट्रेस पूजा बेदी की लाडली अलाया फर्नीचरवाला (Alaya Furniturewala) भले ही एक फिल्म पुरानी हों लेकिन एक्ट्रेस के कातिलाना लुक्स बी-टाउन की बड़ी-बड़ी फैशननिस्टा को टक्कर देने वाले हैं।

We Did The Research & These Are The Best Golden Globe Looks Of All Time

This Sunday, millions of people will leave Netflix on read for a few hours to watch the first virtual Golden Globes. The 78th Annual Golden Globes, which will be hosted by comedians Tina Fey and Amy Poehler from two separate coasts — Fey at the Rainbow Room in Manhattan and Poehler at the Beverly Hills Hotel in Los Angeles — won't have guests, and therefore, won't include a red carpet. That said, we're sure fashion will play a role somehow, even if only for Instagram.

In lieu of a true red carpet this year, we're looking back 31 years, from 2020 to 1989, and showing off the best red carpet looks from each — that is, except for 2008, when the Writers Guild of America went on strike and got the whole event canceled. From the white satin gown Audrey Hepburn donned while receiving the Cecil B. DeMille Award in 1990 to Saoirse Ronan's #METOO-inspired black Versace gown in 2018, the dresses ahead are all you need to prepare for Sunday night's festivities (or lack thereof).

So sit back, relax, and enjoy our look-back through the best Golden Globe gowns of all time (or at least the last 31 years).

2020

Though we're sad that red carpets are on permanent pause, at least we got to see Cynthia Erivo in this black-and-white custom Thom Browne gown at the 2020 Golden Globes first. Photo: Frazer Harrison/Getty Images.

2019

Regina King is showing us how to do sequins after New Year's Eve in this custom bubblegum-pink body-con by Alberta Ferretti.

Regina King in custom Alberta Ferretti.Photo: Jon Kopaloff/Getty Images.

2018

Hands down, 2018 was Saoirse Ronan's year. Not only did she win her very first Golden Globe for a stunning performance in Lady Bird, but she also shut the red carpet down in this stunning black and silver Atelier Versace gown.

Saoirse Ronan in Atelier Versace.Photo: Frederick M. Brown/Getty Images.

2017

Draped in Chanel Couture, Riley Keough might have been new to the Golden Globes in 2017, but she looked anything but out of place on the red carpet.

Riley Keough in Chanel Couture.Photo: Steve Granitz/WireImage.

2016

Anyone can do Old Hollywood, but no one, and we mean no one, does it quite like Lady Gaga. With a Marilyn Monroe 'do that rivals Ms. Monroe herself, this off-the-shoulder Versace gown and 10-inch Brian Atwood heels, we find ourselves wondering, is there anything Gaga can't do?

Lady Gaga in Versace.Photo: Jason Merritt/Getty Images.

2015

Wearing black on the red carpet is hardly groundbreaking, but Amal Clooney has a way of standing out in a crowd, especially when she's donning head-to-toe Dior Haute Couture.

Amal Clooney in Dior Haute Couture.Photo: George Pimentel/WireImage.

2014

For a Golden Globes first-timer, Lupita Nyong'o walked this red carpet like a seasoned pro — or rather, a superhero, in this cape-like gown by Ralph Lauren.

Lupita Nyong'o in Ralph Lauren.Photo: Steve Granitz/WireImage.

2013

Patchwork has never looked better than it did in 2013 on Zoe Saldana in this Prabal Gurung strapless frock.

Zoe Saldana in Prabal Gurung.Photo: Steve Granitz/WireImage.

2012

We've yet to spot Angelina Jolie looking anything short of fabulous on the red carpet circuit, but this show-stopping Atelier Versace gown is hands down her best.

Angelina Jolie in Atelier Versace.Photo: George Pimentel/WireImage.

2011

Low back! Sequins! Long sleeves! All boxes were checked when Anne Hathaway stepped foot on the red carpet in this Armani Privé gown.

Anne Hathaway in Armani Privé.Photo: Evan Agostini/NBC/NBCU Photo Bank/Getty Images.

2010

A few showers couldn't stop Cameron Diaz (and that dazzling smile) from showing up her competition in this drapey Alexander McQueen gown.

Cameron Diaz in Alexander McQueen.Photo: SGranitz/WireImage.

2009

Admittedly, lavender in January seems more 2018 than 2009, but when it's Olivia Wilde underneath this Reem Acra gown, all bets are off.

Olivia Wilde in Reem Acra.Photo: Steve Granitz/WireImage.

2007

Not that there's anything Queen Bey doesn't look stunning in, but even she outdid herself with this gold, sequined Elie Saab number.

Beyonce Knowles in Elie Saab.Photo: Frazer Harrison/Getty Images.

2006

Looking back on 2006 style, it hardly seems possible that Keira Knightley's strapless Valentino dress came out of the same year as chunky belts and low-rise cargo pants.

Keira Knightley in Valentino.Photo: Jeff Vespa/WireImage.

2005

As the mastermind behind Poise magazine (calling all 13 Going on 30 fans!), it comes as no surprise that Jennifer Garner (with the help of this vintage Valentino gown) would beat out any and all competition on the red carpet.

Jennifer Garner in vintage Valentino.Photo: SGranitz/WireImage.

2004

While this look might not have garnered very much appreciation back in '04, in 2019, we're tipping our hats to the master of menswear, Diane Keaton, for showing up to the Golden Globes donning a collared white coat, itty bitty sunglasses and sequin boots.

Diane Keaton in Nehru-collared white coat. Photo: Jeff Kravitz/FilmMagic, Inc.

2003

Fact: Kim Cattrall can make anything look sexy — and this red hot Valentino number is no exception.

Kim Cattrall in Valentino. Photo: Jon Kopaloff/Getty Images.

2002

Only Halle Berry could pull off arguably the hardest color on the red carpet: chocolate brown. Then again, we're still looking for something Halle Berry doesn't look perfect in.

Halle Berry in Valentino.Photo: SGranitz/WireImage.

2001

A slip dress to the Golden Globes? Normally we'd say no way, but there's just something about Kate Hudson in Vera Wang that has us tossing normal red carpet rules out the window.

Kate Hudson in Vera Wang.Photo: KMazur/WireImage.

2000

At the height of Sex And The City's prime, it hardly comes as a surprise that fashion icon Sarah Jessica Parker, would show up looking fabulous on the red carpet. We only wish she'd give us a hint to what shoes she's wearing underneath this Richard Tyler tulle gown.

Sarah Jessica Parker in Richard Tyler.Photo: Frank Micelotta/Getty Images.

1999

Typically we'd shudder at the thought of a two-piece ensemble on the red carpet, but this Pamela Dennis black-and-white duo on Calista Flockhart has us making a special exception.

Calista Flockhart in Pamela Dennis.Photo: SGranitz/WireImage.

1998

What is it everyone says? Dress for the award you want? That's exactly what Alfre Woodard did in this statuesque bronze gown.

Alfre Woodard in a bronze dress. Photo: Ron Galella, Ltd./WireImage.

1997

Courtney Love has had her fair share of fashion faux pas moments. But after seeing her in this navy blue garb, we're reminded that this grunge goddess often cleans up real good.

Courtney Love in a navy blue dress. Photo: Ke.Mazur/WireImage.

1996

It's official: Sharon Stone strutting onto the red carpet in this Vera Wang black and white ensemble (sweater around the shoulders included!) is 2019 #stylegoals.

Sharon Stone in Vera Wang.Photo: Ke.Mazur/WireImage.

1995

We're always keen on a red carpet look that goes against the grain, so naturally, Uma Thurman showing up to the Golden Globes in this classic satin coat instead of a dress has us bowing our hats.

Uma Thurman in a white coat. Photo: Steve Granitz/WireImage.

1994

Is it just us, or is Angela Bassett absolutely glowing in this all-black Golden Globes ensemble?

Angela Bassett in a black dress.Photo: Ron Galella/WireImage.

1993

In a sea of little black dresses and sequin shoulder pads, Janine Turner shines in this red, fitted gown.

Janine Turner in a red dress.Photo: Ron Galella, Ltd/WireImage.

1992

She may not have been able to beat Bette Midler for the Golden Globe, but Michelle Pfeiffer was no doubt the best-dressed nominee of the night.

Michelle Pfeiffer in a black gown. Photo: Ron Galella, Ltd./WireImage.

1991

Ahh, the skirt suit. It's no surprise this two-piece trend is making a major comeback when you look at Julia Roberts in this navy blue pinstripe style.

Julia Roberts in a navy blue suit. Photo: Ron Galella, Ltd./WireImage.

1990

Simply put, Audrey Hepburn could do no wrong — a fact proven by this remarkable ensemble.

Audrey Hepburn in a white satin gown. Photo: Ron Galella/WireImage.

1989

The 1989 Golden Globes had some rather interesting fashion moments (it was the ‘80s after all). But this long-sleeved red gown on Hotel star Connie Selleca is just as chic now as it was back then.

Connie Sellecca in a red gown.Photo: Jim Smeal/Ron Galella Collection/Getty Images.

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Sweatsuits, Inclusivity, & How “Genderless” Collections Might Be Missing The Point

Earlier this month, the much-loved sustainable activewear brand Girlfriend Collective launched its “For Everyone” collection: a range of outerwear and loungewear made up of baggy joggers and matching sweatshirts, boxy tees, ultra-stretchy leggings (a signature for the label), and retro fleeces — all in an inviting autumnal color palette. The collection, available in sizes XXS to 7XL, is a perfect distillation of the pandemic aesthetic: It’s sofa-friendly, ethically made, simple and unadorned, and its main selling point is that the line works for all people, regardless and inclusive of any gender expression.

The gender-neutral aspect of sweats isn’t the only driving force behind their popularity, but it’s certainly been used as a marketing tool for brands to impressive results. As one of the top-selling fashion items during a time where corporate and commercial spaces rushed to signal their diversity and inclusivity efforts, sweatpant sellers found it useful to highlight all the ways in which their garments may also promote social justice; after all, what’s more inclusive than a product that’s for everyone? Even before 2020, popular brands like Entireworld and PANGAIA used universality as a reason to buy their product (it’s baked into their names). It’s the lack of gender inherent in sweats that is constantly invoked as a reason to shop: The sweats are “to be used as decided by the wearer, regardless of their gender,” PANGAIA said in a statement to Refinery29.

But seeing sweats as representative of a meaningful step forward for gender inclusivity is missing the point. For one, even the most well-meaning companies divide their assortment of products into male and female categories, which defeats the purpose of gender-neutral fashion. But more importantly, in some key ways, this kind of “genderless” aesthetic actually makes it more difficult to achieve real progress for the non-binary fashion movement.

According to Anita Dolce Vita, the editor in chief of queer style magazine DapperQ, choosing to describe sweatsuits as “non-binary” or “genderless” can be damaging for the queer community from which these terms originated because, by associating them with a basic pair of sweats, it implies the absence of any gender signifiers as defined by society. But non-binary fashion isn’t about stripping clothes of the details we’ve been conditioned to understand as either masculine or feminine; it’s about removing the labels that suggest certain clothes can only be worn by certain individuals. 

“This [current moment] is about clothing [upon which] we can’t project any of our traditional notions about gender, when really the conversation should be about why anything is gendered,” Dolce Vita explains. “It’s taking us further away from thinking about a skirt or pearls or heels being genderless, and it’s also reverting to the idea that masculinity is the default for neutral.” Associating genderlessness with apparel that is typically made for men has long been, and still is, common practice in fashion. As recently as last week, Everlane launched its Track Collection, a certified-organic range of “timeless” hoodies, joggers, and zip-ups that is divided into two categories: women’s and men’s/unisex. 

Although it’s certainly a good thing that women’s loungewear options are no longer limited to form-fitting velour tracksuits with the word “JUICY” emblazoned in rhinestones across the backside, society is not yet at a point where if a man wants to wear a tracksuit of that sort, the outfit will be accepted as being anything other than “for women.” Even today, the sight of Harry Styles in a dress can set the internet ablaze with sexist and homophobic comments, making it difficult — and oftentimes incredibly dangerous — for people who want to dress in defiance of rigid gender norms. 

And while pandemic dressing has provided some women with the opportunity to step out of their historically inhibiting office attire, like tight pencil skirts and toe-crushing stilettos, Dolce Vita is quick to draw attention to the fact that, for some LGBTQ people, the disappearance of spaces to actively express and confirm their gender can be devastating. “The performative nature of their gender is what really affirms who they are and minimizes dysphoria,” she says in reference to the psychological distress experienced by someone whose birth sex is not aligned with their gender identity. However, Dolce Vita acknowledges that from a mainstream perspective, the rise and embrace of the sweatsuit illustrates a small shift toward greater inclusion and diversity in fashion — though conversations on the topic within the queer community, she says, are “lightyears ahead.” 

An example of this is the success of gender-neutral brand re—inc which, as stated on its website, was “built to challenge the status quo.” In addition to having add-to-cart-worthy sweatsuits, it also has a highly notable founding team — gender equality activist Megan Rapinoe and her fellow US women’s soccer stars Tobin Heath, Meghan Klingenberg, and Christen Press — behind it. Re—inc positions itself as a values-first company, centering the bodies and beliefs of the same queer and POC people that founded it.

“A lot of times, a solution to a problem in the world is created and then companies are built around it. We did it the other way,” Klingenberg explains. Re—inc started as an idea about harnessing the privilege and power that comes with celebrity to champion gender fluidity and diversity in design. What came next was an online hub for self-expression and discovery through apparel, art, or membership to its global digital network that recognizes and engages with the Black and queer communities which have made re–inc’s streetwear-inspired, genderless aesthetic possible. Their sweatsuits are an extension of the brand’s commitment to inclusivity, taking into consideration the bodies and desires of individuals that have been overlooked, and thus devalorized, in mainstream fashion.

“[In the past] things haven’t been made for us, for our bodies, and for who we are,” Klingenberg explains in reference to the wide-ranging athletic builds and unique personal tastes of herself and re—inc’s three other founders. Klingenberg prefers sweats over jeans not only for practical reasons being in a profession that demands ample time spent on the field or in a gym but because she feels most herself when prioritizing comfort while getting dressed. Having options that are available for her needs, irrespective of what’s considered to be specifically “for women,” reflects the guiding principle at the core of the brand: “We want people to feel totally comfortable in their own skin,” Klingenberg says.

In the conversation about gender neutrality as it relates to personal expression, language is incredibly powerful. It’s easy to apply the words “for everyone” to garments that, by nature, don’t fit into traditional notions of masculinity or femininity. But making design truly available to all calls for a categorical un-gendering of fashion that dismantles societal expectations for how people should present themselves. Sweatpants that are simply just sweatpants is a start, but until collections no longer need to be deemed genderless in order to be for everyone, these words demonstrate the limits, not the potential, of the non-binary fashion movement.

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The Moment That Gave Us Raf Simons, Fashion Designer

For two decades now, Raf Simons has consistently been one of the buzziest designers in fashion. Despite being part of the establishment — he’s one-half of the creative duo at Prada, and has been the top designer at Calvin Klein, Dior, and Jil Sander — he has always presented a vision of fashion that swims against the mainstream. But, according to Simons, who is one of many people on i-D’s spring cover titled, “The Utopia in Dystopia Issue,” he almost didn’t go into fashion. In the i-D interview, which also includes photographer Willy Vanderperre and stylist Olivier Rizzo, both of whom grew up with Simons, Prada’s co-creative director recalls a period in the early ‘90s when, after graduating with a focus in furniture design — not fashion — he made an about-face.

During Vanderperre and Rizzo’s graduation shows in June 1993 from the Royal Academy of Fine Arts in Antwerp, Belgium, Simons came to a realization: “What the fuck did I do with my education? Industrial design? I don’t give a shit. I want to do fashion.” “When Olivier’s collection went on stage, I crashed,” he told i-D. “I still can’t talk about it.” 

“What the fuck did I do with my education? Industrial design? I don’t give a shit. I want to do fashion.”

– raf simons

This show presents another origin story to Simons’ career than the widely known anecdote about his first Paris Fashion Week show: While interning with noted designer and member of the Antwerp Six, Walter Van Beirendonck, Simons accompanied his boss to see the now-iconic spring ‘90 Margiela show where media and editors were joined by children from the local community in the first-come first-serve front row, and models walked through an old, dirt playground. “This show changed everything for me,” Simons told Business of Fashion. 

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But according to i-D, the Margiela show was nothing compared to seeing Rizzo’s graduate collection: “From an emotional point of view, I think wanting to be a fashion designer was very connected to that moment of seeing Olivier’s graduation show.” 

Simons went on to found his own menswear line two years later, showing it in the form of an 8mm film. Another two and a half decades, and Simons just released another film presentation, this time, the fall ‘21 womenswear collection for Prada, where he works opposite Mrs. Prada herself. History has a way of repeating itself that way. 

Read their conversation in full in “The Utopia In Dystopia” multi-issue of i-D.

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The United States vs. Billie Holiday Features Fashion From Prada’s Archives

When singer-actress Andra Day steps on stage to perform Billie Holiday’s “Them There Eyes” in Lee Daniels’ new film, The United States vs. Billie Holiday, she commands the scene. Her voice is tantalizing — scratchy and low — her buttery yellow gown a bright spot on the stage. The voice is all Day, who embodies the legendary jazz singer. Meanwhile, the dress is just one of many that costume designer Paolo Nieddu, who is also behind the looks in Empire and The Other Woman, crafted for the film. 

Daniels has a personal relationship with Miuccia Prada, which allowed Nieddu to have free reign of Prada’s resources — from their archives to their seamstresses, designers, and fabric collection. After going through photos of the singer, Nieddu and Daniels chose a few ensembles to recreate. Others were originals cooked up by Nieddu.

The designer then went through the archives — looking at colors, silhouettes, fabrics, or even just scraps of a garment — from various Prada collections and used those as building blocks: “If we loved the shoulder, bodice, or skirt of something, we would then build off that, and say [to Prada], ‘Can we make this top be with this bottom?’” Nieddu tells Refinery29. “It was literally like Frankensteining the pieces together.” While the aforementioned yellow dress looks pulled straight from the ’40s, it actually came from collections of the last decade. “It had a fall ‘17 shoulder,” Nieddu says, “and the body of the dress was from resort ‘11.”

The dress was based on a photo of Holiday that Nieddu found in Look magazine, which he proceeded to order off of eBay. “It was from the fall of 1946, and we used the dress in, I believe, [a scene set in] 1947. And I was like, Okay, she could still have it,” he says. Though the photo was in black-and-white, he insisted the dress be dyed a specific, opulent shade of yellow. “It was like the melted butter you get with lobster,” he says.

Andra Day stars in THE UNITED STATES VS. BILLIE HOLIDAY from Paramount Pictures. Photo Credit: Takashi Seida.

When asked about his goal for the film’s costumes, he says it mimicked Daniels’ intention for the entire film: to highlight Black excellence. The glamour that Holiday exuded in real life had to come through in the costumes Day wore. Part of making that happen was creating lavish ensembles with fur, satin, and jewels. “The thought was that, no matter how down Billie was in certain times, she always maintained this level of glamour and luxury, and her star status and essence that she was putting out into the world [always won]. So, I really tried to maintain that and maintain Lee’s vision of her as this [utterly] glamorous woman,” Nieddu says.

Adding to the grandeur, Nieddu accessorized Day using Holiday’s signature gardenia headpieces and jewelry. “She definitely was an accessories queen,” Nieddu says. “Looking at every picture, it was never like, I won’t do a necklace — I’m going to do just earrings. She piled it on. She was into her flowers, her headpieces, and she always wore hats.”

The film doesn’t shy away from the racism Holiday experienced throughout her career. In one scene, while dressed in diamonds and fur, she is denied access to the elevator at a luxury hotel. “You’ll have to take the service elevator,” the attendant tells her. Adjusting her fur shawl — paired with large diamond earrings, a matching necklace, and a floral dress made custom by Nieddu — Holiday walks away. “You look at the way she looks, and think, This isn’t the type of person you would stop from getting on an elevator,” Nieddu says about the scene. “It’s only because of the color of her skin.” 

Andra Day stars in THE UNITED STATES VS. BILLIE HOLIDAY from Paramount Pictures. Photo Credit: Takashi Seida.

Her reaction — pulling herself together at a moment’s notice by recentering her fur and walking out of the hotel lobby, head held high — is an example of how the clothing is meant to serve as armor. From her highest of highs — while performing at Carnegie Hall in black, satin Prada — to her lowest of lows — being arrested in lingerie custom-made by Nieddu — Day’s portrayal of Holiday in The United States vs. Billie Holiday showcases the late singer’s resilience. All the while displaying style at its absolute best.

Watch The United States vs. Billie Holiday on Hulu now.

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बाल संवारतीं मलाइका अरोड़ा कुछ इस स्टाइल में योगा क्लास के बाहर हुईं स्पॉट February 26, 2021 at 02:14AM

मलाइका अरोड़ा को योगा क्लास के बाहर फिर से स्टाइलिश अंदाज में स्पॉट किया गया। इस दौरान यह बाला काफी कंफर्टेबल और चिल आउट नजर आ रही थी।

Whattt! अनन्या पांडे ने इतने ‘बुरे’ कपड़ों पर खर्च किए 3 लाख रुपए February 25, 2021 at 11:05PM

कट-आउट सीक्वेंस, चमकीले रंग के डिज़ाइनर पैलेट और मिनी ड्रेसेस पहनने के लिए बॉलीवुड एक्ट्रेस अनन्या पांडे (Ananya Panday) का प्यार किसी से छिपा नहीं है। अनन्या ज्यादातर स्टाइल स्टेटमेंट फ्लॉन्ट करने के लिए इस तरह के डिजाइनर कपड़े पहनना पसंद करती हैं। ऐसा ही कुछ हमें आज मुंबई एयरपोर्ट पर देखने को मिला।

शिल्पा शेट्टी और राज कुंद्रा की जोड़ी फिर लगी कमाल, मालदीव से छुट्टियां बिताकर इस अंदाज़ में लौटे February 25, 2021 at 10:49PM

बॉलीवुड एक्ट्रेस शिल्पा शेट्टी (Shilpa Shetty) अपने पति राज कुंद्रा (Raj Kundra) के साथ मालदीव में छुट्टियां मनाने के लिए पहुंची हुई थीं, जहां से वह अपने सोशल मीडिया हैंडल से एक के बाद एक खूबसूरत तस्वीरें शेयर कर रही थीं। वहीं अब बीते दिन यह जोड़ी वापस अपने घर लौट आई है, जिसकी स्टाइलिश तस्वीरें इस समय चर्चा में हैं।