April 27, 2023
Anna Wintour on Karl Lagerfeld, and the Clothes He Made for Her
Anna Wintour, the editor of Vogue and global editorial director of Condé Nast, has been the maestro of every Met Gala since 1999. But this time, it’s personal. Not just because the is devoted to the work of the much celebrated designer Karl Lagerfeld, who , but because Mr. Lagerfeld was one of Ms. Wintour’s closest Friends for decades. He created the clothes that, she said, “I’ve worn to the most important events in my life — to my wedding, to my children’s weddings, to Met Galas and state dinners and Tennis championships at which I watched my heroes compete for their dreams.” For her, she said, Mr. Lagerfeld’s designs were “a uniform, a kind of armor and a way of holding certain moods and memories close. His fashion does for me what fashion should. It makes me feel more confident in being myself.” Now, when she wears his work, she said, “I still feel that I have him near.” The Times asked Ms. Wintour to pick some of the favorite Lagerfeld designs that still hang in her closet and describe the memories they evoke. I wore this to the amfAR gala in New York alongside Hillary Clinton when she was in the middle of her first term as senator in 2003. I wanted to feel both chic and confident. I was delighted when, some years later, my daughter-in-law, Elizabeth, wore the same dress to her first Met Gala. Karl, who liked to strike a pose against nostalgia, took one look at her and said, “Recycled!” In fact, Karl’s dresses are enthusiastically recycled in my family, treated with reverence — but not too much. My daughter, Bee, is planning on wearing this dress to a Met after-party this year. Honestly, I don’t remember when or where I first met Karl, or what I was wearing. I was probably nervous, because I was always nervous meeting people in the early years of my career. What’s certain is that he quickly put me at ease. He loved meeting people, and he loved to talk. We were both masters of compartmentalization — we kept our working lives quite separate from our friendship — and when we met socially, fashion was never our subject. Karl was interested in so much else and seemed eager to escape the SNOW globe of his public life. In public, he embraced his image as the high priest of chic and surfaces and whatever was absolutely new. In private — a side he guarded far more carefully — he was different. I first wore this , inspired by the colored paints and pencils that Karl always kept scattered across his desk, to a fantastically over-the-top Chanel extravaganza that he arranged in Dallas a decade ago, one of the first such runway productions in unlikely locations. (This “traveling” model for fashion shows, BREAKING away from the staid runways in Paris or Milan, was enormously influential because Karl did it. Other houses soon followed.) This event was complete with a drive-in movie theater, a bucking-bronco ride and a rodeo. Since then, that paint box dress has been to many tamer parties in our family, including my son Charlie’s wedding. Bee has also worn it to possibly too many of the weddings of her friends. Karl’s dresses don’t seem to age or date to a specific era. They stay with us as we cross time and live our different lives. This , a homage to Coco Chanel’s love of jewelry, was part of Karl’s first Chanel couture collection in 1983. It had been in my closet for a good long time before I found the perfect occasion to wear it at President Biden’s state dinner for Emmanuel Macron. Over the years, Karl designed some dresses specially for me, but we never talked about what these should be. It was more like osmosis. We’d exchange a few words or a text or two about an occasion, and from these Karl was able to draw what would be just right — for the event but also for me. He absorbed a lot more from people than he showed. However broad his own interests, he always seemed to have room for other people’s, and over the years he sent me vintage prints in honor of my love of tennis and porcelain. Karl didn’t play tennis, and he didn’t care for porcelain the way I did, but it was his quiet way of being attuned to other people’s minds. Karl was always sending me sketches that he could create in an instant but might just as quickly ball up and toss away. One of them shows us on the dance floor, a memento of the ways we used to spend our time together in Paris. In the early days of our friendship we would meet at the Café de Flore, where Karl was a habitué. Later, he’d take me to chaotically planned, totally glamorous dinners at his house, and those incredible nights often ended with dancing. Karl was a great dancer, and a greater night owl. As we got older and wiser and outwardly more respectable, we gave up the late nights and the Café de Flore, and I persuaded him to meet me for dinner at my hotel (Karl was perpetually, sometimes preposterously, late, and this way I found I could get some work done while I waited for him to show up). But , both ethereal and down to earth, is a reminder of that era of late-night dancing. When one of his late parties ended, he would go home and, alone, read Hegel and sketch deep into the night. He sent me books constantly, in volume — strange, unexpected books of the kind known only to people who spend time prowling the backs of shops. Once I was supposed to fly across the Atlantic to present him with an award in London. I’m not wonderful at adjusting to time differences, and I don’t particularly like public speaking. I am always early — in this case arriving two days in advance — and on the day of the event, a few hours before it began, I got a vaguely alarming text: Karl was just taking off from Paris. A couple of hours later, another one: Karl had landed and was in the car, but had stopped off at a bookshop. About an hour before the presentation, there was a third: Karl is on his way but wanted to visit a gallery. Finally, within seconds of our curtain call, Karl burst into the wings with an entourage of 15 and his usual surprised “Am I late?” We were swept onstage. Karl’s Chanel suits put me in mind of his dogged, unexpected strength. They are uniform and armor, a testament to slow and controlled change, but there’s something vividly human in them, too. When we went together to the 2014 opening of the Foundation Louis Vuitton in Paris, Karl told me that was his favorite on me of any piece I’d worn. Since then, I’ve worn it many times. It’s Karl at his finest: the classic profile made new, the sparkle and simplicity, the way it puts forward an idea of strength in femininity. Karl frequently surprised the world as a designer (he loved to turn heads), but it was as a friend that he surprised me most. Many years ago, when I was facing my first summer vacation with my children after my divorce, I was frozen. I wanted to show them a good time, but I felt in pieces. It was Karl, of all people, who sensed this and swooped in to lend a hand. He had a vacation house in Europe, by the beach, he told us, and we should spend some time there. When we arrived, to my surprise, he’d planned a whole summer camp’s worth of activities for my young children — surfing lessons on the beach, day trips to the nearby art museum, dancing after dinner in the evenings. Karl was perhaps even less a kid person than he was a porcelain person, but he went all out when I most needed it. That isn’t something you forget. A real relationship with Karl was an association and connection built incrementally, over years. Karl could be serious, but I’ll remember his tremendous sense of fun. In the early 1990s he designed a lot of . We photographed a spread of them in Vogue, and I kept wondering whether the skirts were short enough. Whether in consideration of this question, or simply as a way of teasing me, he sent me a short skirt suit of my own. I wore a lot of short skirts at the time, but none more happily than his. Or there was the benefit Chanel staged in the meatpacking district in 1991, when the uptown crowd descended to West 12th Street in an endless array of buckled leather and ruffled tulle, all of it Chanel. I remember a journalist asking him if he had ever seen so many middle-aged Women in biker jackets and miniskirts. Karl’s reply was quintessential Karl, generous and coolly deadpan: “As far as I’m concerned there are no middle-aged women.” I never wholly figured out his contradictions. He was someone who could be rigorous in his diet, which was notoriously stringent and health-minded, and then consume a tsunami of Diet Coke. He had his love of books and magazines and printed matter but also needed the very latest technology and devices at his fingertips. He was always looking ahead to the next thing, to the future — with a fear, I always felt, of falling behind, of being caught out. He would have been alarmed to find himself the subject of an exhibition at the Metropolitan Museum of Art. But “A Line of Beauty” is an appreciation and embodiment of his genius. Since 2005, I have worn his dresses to almost every opening gala for the Costume Institute that I have co-hosted. This which I wore to the “China: Through the Looking Glass” show in 2015, was an example of Karl’s dexterity and quick wits at his desk. On the runway, it was short, but, with a sweep of his pencil, it became ankle-length — and it worked beautifully that way. Our friendship meant everything to me, and I miss him deeply. I am grateful for all the moments, such as this one, that can bring his work to life and, in the process, keep him near.
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Star Wars Director Says It's About Time A Woman Makes A Star Wars Movie
Jan 02, 2024
Oscar-winning documentary filmmaker Sharmeed Obaid-Chinoy is directing an upcoming Star Wars movie that brings back Daisy Ridley in the role of Rey. Obaid-Chinoy will become the first woman to direct a Star Wars film, dating back to the franchise's origins in the 1970s. Speaking about this, Obaid-Chinoy told CNN that she is "very thrilled" to make the movie and create something that is "very special.""We're in 2024 now, and I think it's about time we had a woman come forward to shape the story in a galaxy far, far away," she said.Obaid-Chinoy won Best Documentary, Short Subjects Academy Awards for Saving Face (2012) and A Girl in the River: The Price of Forgiveness (2015).In 2020, Lucasfilm boss Kathleen Kennedy told the BBC that a woman would eventually direct a Star Wars movie, saying that would "absolutely" happen, "without question." Victoria Mahoney was a second unit director on The Rise of Skywalker, but a woman has never claimed a top directing credit on a Star Wars movie.On the TV side of things, The Mandalorian has featured a number of female directors, including Deborah Chow and Bryce Dallas Howard. Chow went on to direct the Obi-Wan TV series, too.Another high-profile franchise that has never had a female director is James Bond. Producer Barbara Broccoli and Skyfall director Sam Mendes have both said they want to see a woman direct a future 007 film.As for Obaid-Chinoy's Star Wars movie, little is known about it apart from the fact that Ridley will come back to play Rey. It is expected that this film will be the first of the three new Star Wars films to come to theaters, possibly releasing in December 2025.According to a report, Peaky Blinders creator Steven Knight is writing the Rey movie, taking over for Damon Lindelof and Justin Britt-Gibson.
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NBA Names Clare Akamanzi CEO Of NBA Africa
Jan 02, 2024 15:29
The NBA named Clare Akamanzi – an accomplished business executive and international trade and investment lawyer – as CEO of NBA Africa. Akamanzi will start her position on Jan. 23, 2024, and report to NBA Deputy Commissioner and Chief Operating Officer Mark Tatum. In this role, Akamanzi will oversee the NBA’s business and basketball development efforts in Africa and will be responsible for continuing to grow the popularity of basketball, the NBA and the Basketball Africa League (BAL) across the continent, including through grassroots basketball development, media distribution, corporate partnerships, and social responsibility initiatives that improve the livelihoods of African youth and families. For the last six and a half years, Akamanzi was CEO of Rwanda Development Board (RDB), where she spearheaded Rwanda’s economic development by enabling private sector growth. Under Akamanzi’s leadership, RDB implemented several business policy reforms and initiatives that led to significant investment and development for the country, including through partnerships with the BAL, Arsenal FC, Paris Saint-Germain FC, FC Bayern Munich and TIME Magazine, among others. “Clare’s business acumen, international experience and familiarity with basketball and the NBA make her the ideal executive to lead our business in Africa,” says Tatum. “NBA Africa and the Basketball Africa League are well-positioned for continued growth, and under Clare’s leadership we believe these initiatives will transform economies, communities and lives across the continent.” “I’ve seen firsthand how sports can positively impact businesses, families and communities in Africa, and the NBA and the BAL are a perfect example of that,” says Akamanzi. “The NBA has done an incredible job growing basketball and the economy around it across the continent, and I’m excited about the enormous opportunities ahead to build on that momentum.” Previously, Akamanzi was Chief Operating Officer of RDB and Head of Strategy and Policy Unit, Office of the President of the Republic of Rwanda. She has extensive international trade, business and diplomatic experience, having previously worked for the Rwandan Government at the World Trade Organization in Geneva, Switzerland and at the Rwandan Embassy in London, England. Akamanzi has worked or studied in seven different countries and holds an honorary LLD from Concordia University in Montreal, Canada, in recognition of her work in Rwanda. She earned a master’s degree in public administration from Harvard University’s Kennedy School of Government in Cambridge, Massachusetts, where she was the recipient of three prestigious awards for academic excellence and distinguished contribution to the community: the Lucius N. Littauer Fellows Award, the Raymond & Josephine Vernon Award and the Robert Kennedy Public Service Award. In addition, Akamanzi holds a Master of Laws degree in international trade and investments from the University of Pretoria in South Africa, and a Bachelor of Laws degree from Makerere University in Kampala, Uganda. Akamanzi has served on several company boards, including the World Health Organization (WHO) Foundation, ECOBANK and Aviation, Travel and Logistics (ATL) company. She was recognized by Forbes as one of Africa’s Top 50 Powerful Women in 2020.
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