When Shanghai-and-Chengdu-based womenswear designer Shie Lyu received an email inviting her to take part in a Vogue-initiated collaborative project with Stella McCartney, her astonishment bordered on disbelief. “I thought the message was spam!” exclaims Lyu, who founded her label in 2020.
A short while later, in London, McCartney’s team opened the first mystery box shipped from Lyu’s Chengdu studio—which contained a fall 2022 floral-quilted cropped jacket and coordinating miniskirt, an abstract print top, gauzy black stockings, and chokers strung with romantic pearls and steel hardware. “There was a moment of pause where you think, Gosh, this has happened in such a different part of the world,” says McCartney. “I could see similarities in the dusty color palette and the tension between the masculine and feminine. I was also blown away by the love put into the look—the intricate stitchwork, the level of detail.” Take, for example, the impressionistic print, created using zoomed-in images of upcycled objects, like beads and paillettes, that had been chilled in Lyu’s freezer. “Shie cast a spell over our entire studio.”
Enchantment aside, when Lyu’s small team unpacked McCartney’s summer 2023 runway look—an oversized double-breasted suit in a Wall Street gray traceable-wool mix, layered with a seductive top made from draped recyclable brass chains—they were a bit intimidated by its precise sophistication. “We don’t really produce tailoring, so the look felt very challenging and out of our comfort zone,” Lyu recalls of the ensemble, which nodded to the golden halter necks and tank tops McCartney showcased on the Chloé spring 2000 catwalk when she was creative director of the Parisian maison.
Bu hikaye Vogue US dergisinin Summer 2023 sayısından alınmıştır.
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Bu hikaye Vogue US dergisinin Summer 2023 sayısından alınmıştır.
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Canvas the City - Martha Diamond captured the brisk energy of Manhattan.
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Are you in pain?” Cadence Dubus, a Brooklyn-based fitness instructor who has developed a program for “fascia release,” asks, sending me spiraling before our session begins. There’s that twinge in my shoulder and the carpal tunnel at night—but aren’t such annoyances simply the conditions of modern life, of getting older? “Some,” I answer, shy to cop to any of it. Dubus then has me walk back and forth, squinting at my gait.
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It was late in the summer in Los Angeles, with all the dry heat and burnished sunlight that implies, and Billie Eilish was sitting in a dark room, busy changing her mind. The singer was halfway through editing the music video she had directed for “Birds of a Feather,” her latest astronomically successful hit song (nearly 1 billion streams) off her latest astronomically successful hit album (nearly 4 billion streams at the time), when she encountered a problem: She realized she hated it. Well, not hated. “I was like, this ain’t it,” she says.
Coming Up Rosy - The new blush isn't just for the cheek. Coco Mellors feels the flush.
If the eyes are the window to the soul, then our cheeks are the back door. What other part of the body so readily reveals our hidden emotions? Embarrassment, exuberance, delight, desire, all instantly communicated with a rush of blood. It's no wonder that blush has been a mainstay of makeup bags for decades: Ancient Egyptians used ground ochre to heighten their color; Queen Elizabeth I dabbed her cheeks with red dye and mercuric sulfide (which, combined with the vinegar and lead concoction she used to achieve her ivory pallor, is believed to have given her blood poisoning); flappers applied blush in dramatic circles to achieve a doll-like complexion, even adding it to their knees to draw attention to their shorter hemlines
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A story of survival on a whaling ship sets sail on Broadway. Robert Sullivan meets the crew behind the rousing folk musical Swept Away.
STAGING A COMEBACK
Harlem's National Black Theatre has been a storied arts institution in need of support. A soaring new home is shaping its future.
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Simon Porte Jacquemus, much like his label, resonates with the sunny, breezy French South-but behind the good life, as Nathan Heller discovers, is a laser focus and a shoulder-to-the-wheel work ethic.
