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Beyoncé Celebrates ‘Renaissance’ With Studio 54-themed Party in a Shimmering Bodysuit



Beyoncé is continuing the celebration of her recent album, “Renaissance.”

The musician hosted a Studio 54-themed disco party Friday night at the Paradise Club at the Times Square Edition, called “Club Renaissance,” to celebrate the album, which officially released on July 29.

Beyoncé attended the party wearing a House of Timothy White shimmery bodysuit that was designed with a plunging neck and featured matching gloves. She paired the look with Giuseppe Zanotti crystal-embellished platform heels, Wolford tights and jewelry from Tiffany & Co. The look was styled by Marni Senofonte.

The musician was joined at the party by her husband Jay-Z , mother Tina Knowles-Lawson and father Mathew Knowles. Other attendees included Tyler Perry, Kendrick Lamar, Leonardo DiCaprio, La La Anthony, Normani, Telfar Clemens, Cynthia Erivo, Lena Waithe and many others.


Beyoncé also posted photos from the party and of her disco-themed style on her Instagram.

Beyoncé’s disco-themed look aligns with the high-fashion photoshoot she released as album art with the “Renaissance” album. The musician appeared in the photoshoot wearing an array of retro and disco-themed looks from designer labels like Alaïa, Gucci, Mugler and Schiaparelli, as well as emerging designers including Nusi Quero, Giannina Azar, Natalie Fedner and others.

“Renaissance” is Beyoncé’s seventh studio album, marking her first solo album in six years since the release of her award-winning album, “Lemonade.”

In 2020, Beyoncé released the visual album “Black Is King,” which was the soundtrack for the 2019 “The Lion King” remake. The visual album included an array of high-fashion moments from brands like Valentino, Burberry, Mugler and Erdem.

Young Indigenous woman hopes her experience as a model will inspire others

CBC News · Posted: Jul 23, 2022 7:00 AM ET | Last Updated: July 23

Hailey Sutherland says young people from her community often don't get to dream big

Constance Lake First Nation's Hailey Sutherland hopes her walk down a catwalk at a Toronto fashion show will inspire young people from her northern Ontario community. 

Sutherland, who has worked as a teacher in her home community and is now studying psychology at Laurentian University, said she almost didn't apply to model at the Indigenous Fashion Arts Festival.

"I'm plus size. I have a postpartum body. I didn't really believe in myself," she said.

"I applied five minutes before the deadline time. So I just got the courage last minute and I sent in photos, my measurements and everything, and a few weeks after that I got an email saying that I have an audition in Toronto, so it was very exciting."

Sutherland had never modelled before, but she was able draw on her dance experience to help her showcase clothing made by Indigenous artists. 

"I felt like my kokum was there and I just had to bring that confidence out because I've suppressed it for so long because of my postpartum journey," she said.

  • 'Best dressed' northern Ontario designer brings Indigenous fashion to the forefront

  • Giinawind Co. showcases ribbon skirts designs in fashion show


Sutherland said many young people from her community feel as though they don't have a lot of opportunities and can't afford to dream big.

"Even in urban settings as Indigenous youth, we feel like, oh, we want to do this and we want to do that, but how can we start? Where can we go? And I want to be able to help and guide them," she said.

An Indigenous approach to fashion

Sage Paul, the executive and artistic director with Indigenous Fashion Arts, said it has been rewarding to see how the organization has inspired young Indigenous artists with an interest in fashion.

Indigenous Fashion Arts hosts its festival and fashion show every two years.

"We take a very Indigenous approach to the work that we do," Paul said.

"It's very community-oriented. It's collaborative in its approach and very reciprocal in its approach, unlike the fashion industry, which is based around capitalism."

Paul said a large number of the designers they've featured come from smaller communities and First Nations across Canada. 

"Getting to see all of our communities, you know, be so empowered in their own body and their own skin is really hopeful," she said.

"It's beautiful, it's inspiring. And so I do hear that a lot from the designers, to the models, to the attendees. We get really beautiful stories back from even really young girls who are in elementary school."


Hailey Sutherland says she is glad she stepped outside of her comfort zone and applied to model at the Indigenous Fashion Arts Festival in Toronto. (Kate Rutherford/CBC)


Olivia Newton-John, Grease star and Grammy-winning singer, dies at 73

The Australian singer and actress was best known for her role in the 1978 film “Grease.”

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Olivia Newton-John, the English-Australian singer and actress beloved for her portrayal of Sandy in Grease, has died. She was 73.

According to her official social media pages, Newton-John died Aug. 8 while at her home in Southern California. A statement said, "Dame Olivia Newton-John (73) passed away peacefully at her Ranch in Southern California this morning, surrounded by family and friends. We ask that everyone please respect the family's privacy during this very difficult time."

The announcement did not cite her cause of death, but Newton-John fought breast cancer for over 30 years, and it did include a reference to her long battle with the disease and her charitable efforts. "Olivia has been a symbol of triumphs and hope for over 30 years sharing her journey with breast cancer," it read. "Her healing inspiration and pioneering experience with plant medicine continues with the Olivia Newton-John Foundation Fund, dedicated to researching plant medicine and cancer. In lieu of flowers, the family asks that any donations be made in her memory to the Olivia Newton-John Foundation Fund."

She had a long-ranging career in entertainment, most notably as a songwriter and recording artist. Newton-John sold an estimated 100 million records worldwide, making her one of the best-selling artists of all time. 

She won four Grammy Awards and scored five number-one Billboard Hot 100 Singles in her lifetime, as well as over 15 top 10 singles. Billboard ranked her at number 20 on their list of Greatest of All Time Hot 100 Artists and number seven on their Greatest of All Time Hot 100 Women Artists list. In 1979, Queen Elizabeth bestowed her with an Order of the British Empire designation. 

For millions, she will be best remembered as good-girl turned greaser Sandy in 1978 film Grease opposite John Travolta. The film shot her career to new heights and notably changed the role of Sandy from an American girl to an Australian transplant to accommodate Newton-John's native accent. One of her songs in the film, "Hopelessly Devoted to You" was nominated for the 1979 Oscar for Best Song. It, along with "You're the One That I Want", was written by her music producer John Farrar, specifically for the movie to showcase Newton-John's voice.


Camille Miceli Makes a Splash in Capri With Her Debut Collection for Emilio Pucci


Camille Miceli touched down in Capri this week with her launch collection for Emilio Pucci, making a splash in the still not-so-warm, late-April waters with an intense “experience” enjoyed by 160 guests flown in from Paris, Milan, and London. The US contingent was represented by the rapper Gunna, whose performance capped off three Pucci-fied days of activations and dolce vita—decadent dinners and hours-long lunches at Bagni di Tiberio; morning yoga classes for stylish Pucci yoginis; and “how-to-style-a-scarf” lessons in the label’s store on Via Camerelle, the island’s mini via Montenapoleone.

The see-now, buy-now collection—called La Grotta Azzurra and released in three drops, the first of which launches exclusively on today—was presented live in various tableaux vivants throughout the island, with Pucci-clad models looking very much à l’aise in the surroundings. Nor surprisingly so, as Capri was Marchese Emilio Pucci’s beloved holiday destination, where his high society friends-turned-clients used to spend long barefoot summers.

After various incarnations, Pucci has been entrusted to the experienced hands of the ebullient and cool Miceli, whose approach to the label’s reboot seems to be straightforward and layered in equal measure. “Pucci isn’t a conceptual brand, it’s a lifestyle brand, so its message has to be direct,” she said. That doesn’t mean having to simplify it to the point of reducing its impact. Quite the contrary. For Miceli it means energizing it further, amping up the joie de vivre factor already embedded in its codes. Energy is an attractive trans-generational attitude, and permeating the label with a positive, slightly trippy vibe will help engage for a wider, younger audience.

Miceli also highlighted what she called Pucci’s “humanity and peculiar sensibility,” which she enhanced, for example, by creating hand-drawn iterations of the famous prints. “I think that digitized patterns strip Pucci’s motifs of the imperfections that are part of their unique charm,” she explained. In the new collection, which is full of covetable, cool separates, the patterns’ pyrotechnics are offset by the use of few solid colors. Often the prints were just used as contrasting details—a colorful padded trim on a black or beige cotton cropped jacket; a printed foulard criss-cross closing a short black sleeveless shift dress; a flower-flame motif blooming at the front of a pair of bell-bottom capri pants in white cotton.

Making Pucci desirable, as she said, “to my 21-year-old son’s circle of girlfriends, as well as to my mother or to my millionaire copines,” is part of Miceli’s mission to balance sophistication with accessibility, offering pieces that can make an entrance while retaining ease and nonchalance. Being a skilled accessories designer, she has cleverly expanded the offer, working around the shape of two interlocked little fishes, playfully replicating the P in Pucci. “It’s actually more a symbol than a logo,” she said. Miceli had it tranlated into enameled bracelets and metallic necklaces; into the outlined rubber soles of funny flip flops; into buckles decorating wooden clogs and high-shine platforms; and into a cute bag shaped like a fish. Prices varies from reasonable to reasonably high. The attractive energy of Pucci “makes for a spontaneous, impulsive buy,” said Miceli, “so prices have to be calibrated accordingly.”

The Pucci reboot will proceed along a non-seasonal cadence. “The idea of season is démodée,” Miceli said, so jumping on the fashion show merry-go-round isn’t on the agenda yet. “It’s easy to have models walking a catwalk, but this see-now, buy-now formula with monthly new drops keeps you on your toes, creatively speaking, as you have to constantly find new ideas to engage the customers.” Seeing as she seems to have a rather substantial amount of cheerful optimism, Miceli doesn’t have to worry about exhausting her energy supplies anytime soon.


Marc Jacobs


“We have art not to die of the truth.” Marc Jacobs quoted Nietzsche in his show notes. Confronted, as we are, with a rogue Supreme Court determined to strip women of their reproductive rights, with Clarence Thomas threatening to attack gay marriage next and even to make contraception illegal, fury may give way to despair. But that’s not where Jacobs is at.

Last month, when I spoke to him about his coming out story for a series on this website, he told me: “For many, many years—decades now—I’ve lived my life very openly. I learned somewhere along the way… that I’m only as sick as my secrets and that one thing I won’t live with is shame.” You could say that this collection was a visual expression of that sentiment, an insistence on experimentation, with a drive to move forward, shown on a cast of all genders. “Creativity is essential to living,” his statement read.

A year ago, double-vaxxed and optimistic, most of us were looking ahead to a brighter 2022. Last June, Jacobs channeled that energy into a dynamic collection, raising the fashion stakes here in New York in the process. That brighter future hasn’t really materialized, as we’re all too aware. Covid keeps coming back in successive waves, and here in America the will of the majority has been hijacked by the minority.

Nevertheless, Jacobs persists. Supersizing jeans and jean jackets, or treating denim to surface treatments that made the all-American classic look more like French couture. Adding so much stuffing to ribbed knit sweaters they could double as pillows. Toying with Gilded Age bustles—and by that I mean evoking them by wrapping jackets around the waist. And cutting ball gowns of exuberant volume in unexpected, even strange fabrics. His materials list included, but wasn’t limited to, foil, glass, paper, plaster, plastic, rubber, and vinyl.

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