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Savannah Chrisley Stresses Debuting Her Fashion Line on 'Chrisley Knows Best' - Duration: 2:05.
Savannah Chrisley Stresses Debuting Her Fashion Line on 'Chrisley Knows Best'
Savannah Chrisley may be poised on the pageant stage, but she had a hard time dealing with
nerves while premiering her clothing line in the season finale of Chrisley Knows Best.
In Tuesday's finale, the whole Chrisley family travels down to Tampa, Florida for the launch
of Savannah's Faith Over Fear line.
The stakes are high, not just for Savannah, but the Chrisley name, she says.
"It's really important that I sell out tomorrow, because it's not just my reputation on the
line," she confesses.
Savannah and dad Todd Chrisley head straight to the Home Shopping Network studio for the
20-year-old to practice her pitch the next day, but the former pageant queen is having
a tough time getting her lines out.
"I know my lines from front to back," she says, "I don't know why I can't get the words
out."
Todd, standing on the sidelines, is having a hard time watching his oldest daughter stumble
over her words.
"It's rare to see Savannah struggling with anything, but you see your child struggling
and you want to give them a gentle nudge and push them through it," he tells the camera.
Later at dinner, Savannah admits to Nanny Faye that she's nervous, and while her grandmother
assures her that she'll do fine, her dad expresses less confidence.
"She wasn't as focused as I'd like her to have been," he says.
"I know there's a lot of work we have to get done, so obviously I'm going to try and teach
her as much as possible in the short time that we have."
When Todd and his wife Julie Chrisley take Savannah in for some more practice, she breaks
down, saying she feels a "huge amount of pressure" to sell all her products during her HSN presentation.
"I just feel like it's all or nothing," she says, choking back tears.
"If I don't sell out, I fail."
Todd, shocked at how seriously Savannah is taking selling out, reminds Savannah that
she's the youngest person to present a product line on the channel, and that he's never known
her to be a quitter.
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Is fashion modern? | HOW TO SEE the Items exhibition with MoMA curator Paola Antonelli - Duration: 9:58.
We are on the sixth floor of the Museum of Modern Art.
My name is Paola Antonelli.
I'm a Senior Curator in the Department of Architecture and Design here at MoMA.
And together with a quite outstanding curatorial team – I cannot name all the names right
now, but you should look them up – I organized the exhibition "Items: Is Fashion Modern?"
This is the first fashion show that MoMA has done in more than 70 years.
That means that the last time MoMA tackled fashion and garments was in 1944,
when a curator called "Bernard Rudofsky" did an exhibition called "Are Clothes Modern?"
And that's where the subtitle of this show comes from.
"Items" consist of 111 items of clothing or things that we can wear on our body that had
a strong impact on the world in the past 100 years.
As curators of design at MoMA, we believe that it is our task not to tell people what's
good and what's bad, but rather help people develop and sharpen their own
critical tools.
So by coming to this exhibition, people will have this kind of shock of the familiar.
Right?
They will see pieces that they own in the context of a museum exhibition in such like
an august hall as MoMA.
And that kind of moment of recognition will spark a new reflection on the things we wear.
And also, ultimately, on the impact that they have on society, and also on the environment.
There are many museums that do fashion shows, and they do a great job at
that.
We didn't want to repeat what they already do.
We didn't want to do a monographic show about the mastery of one designer.
We didn't want to talk about one style in a particular moment.
That's not our expertise.
What we're really good at is design.
So we decided to do a design exhibition about fashion in which we would focus on every single
item and really look at the way this item was born, why it was there, what
it implies, what the sociological, historical, technological, and also aesthetic context
is.
This particular platform gives a sense of what it means to do a design show with fashion
as the subject.
You see, it starts with a piece of high fashion.
It's Rei Kawakubo, Comme des Garcons 1997, a collection called "Body Meets Dress – Dress
Meets Body," when a journalist from "The New York Times," Guy Trebay, came to see the exhibition
and noticed that this piece is next to Vivienne Westwood's bum bag and to a fanny
pack from MTV from the 1980s.
He told me that, actually, when he interviewed Kawakubo in '97 after this collection had
been released, she told him that she had been influenced by kids in the street wearing fanny
packs.
And you'll see in this platform, you move from this idea to actually, maternity, the
first Snugli that was designed in the early 1970s.
And then a prototype that we commissioned of a young Chinese designer, Wei
Hung Chen, of a modular maternity dress, and then examples of maternity clothes from the
1950s.
You see, this platform is about bodies changing, bodies not being always perfect but getting
fat, getting thin, getting pregnant, having accidents.
Just the idea that fashion has to accommodate a changing body and not oblige the body to
adapt itself to it.
These sculptures that you see here, they're quite gorgeous, they come from the
previous MoMA show about fashion, the 1944 "Are Clothes Modern?"
So these beautiful plaster statues that you see here represent what female bodies should
have looked like in different moments in history to match the fashion of that time.
So this crazy centaur shape is from the middle of the 19th century.
And then you move to the Victorian era, all the way to the flapper, concave,
breastless shape.
So it's a way to point out how fashion sometimes does not match reality and human bodies.
This platform puts next to each other the bikini and the burkini.
One would think that they are polar opposites but in truth they represent two different
examples of attempts to legislate women's bodies in history.
Not only that, you can find pictures from the same beaches in south France in which
in the 1950s police were harassing women for wearing too little and last year they were
harassing women on the same beaches for wearing too much.
So it's fascinating how modesty or the sense of what is decent and indecent is legislated
in different ways in different moments in history and different locations.
The exhibition will also address the idea of luxury.
You know, what luxury means to us today, the power of brands, the idea of scarcity whether
real or provoked by a marketing campaign.
And for instance, you see here the Birkin bag.
This is the one that really belonged to Jane Birkin, and it's beaten up and it had stickers on
it's like so different from what you would think a knit bag to be.
Usually, it's kept pristinely and perfectly.
We also have a great, great New York-born and bred example in the work
of Dapper Dan.
In the 1980s, he had a great boutique in Harlem and he made his own clothes.
He was a great tailor and also super-elegant person.
And he wanted to carry Louis Vuitton and Gucci, but the companies did not really see eye to
eye, or were not interested.
Who knows?
So he decided to make his own.
And with that silk screen over there, he was creating jackets that were absolutely his
own tailoring and his own design that had, that carried also those logos.
People have no idea of what an excitement it is to work on an exhibition.
I like to say that when you're a curator, you're a little bit like a director
and a producer of a movie, and MoMA is the studios.
But you get to work with an amazing crew of individuals that…
Well, of course, the curators, but then there's the registrar that takes care of every single
item that comes into the exhibition.
There's the art handlers that set everything up.
For this exhibition, we had an incredible master dresser, Tae Smith, with her crew.
And also, there's the Audio Visuals people.
And sometimes they are responsible for the real success of certain installations,
for instance, the tattoos here.
So for this installation, the team and I wanted to render the fact that tattoos have been
forever in history and very much part of many cultures.
But lately, they have become also a fashion for people that do not necessarily belong
to cultures that have tattoos as tradition but want to kind of represent their own personality
in different ways.
So in order to do so, we wanted to show different tattoos.
And what our Audio Visuals crew did is they took pictures of tattoos on bodies,
and then they remapped them onto mannequins.
Which by the way, are real people, not the usual Size 0's.
This is a special order, Size 10, so a real woman.
They remapped them so that they also can follow the curves of the body.
It's a very complex and fascinating work that is completely rendered effortless when you
watch it, but in truth is a marvel to reckon with.
And we're getting now to a section that we call the "Power Section."
Actually, it is a section in which we try to discuss the idea of power.
There's the Savile Row suit that we start with, and then there's the unstructured suit
with Armani in the 1980s and Yamamoto.
One of the masterpieces in the exhibition is the Zoot Suit that we borrowed from the
museum in Los Angeles, LACMA, the Burton suit, a Bill Blass, all the way to women's
suits that nonetheless still mimic and adapt men's hard power for women.
So it really is about this staple of power that has been for many, many decades, the
suit.
In particular, the Savile Row suit.
But in this day and age, you should not be sure that the person wearing the Savile Row
suit in the room is the tallest poppy.
It's not necessarily so.
The tallest poppy, in truth, might be wearing this t-shirt.
That's really what power is today – the ability to be yourself no matter the circumstances
and to really project your identity.
And it's also good to be able to end the whole exhibition with the white t-shirt.
In front of the Savile Row suit, of course, but also by itself, it condenses all the issues
that we have tried to discuss in this exhibition.
It talks about aesthetics, it talks about ethics, it points back to the raw materials
that sometimes are gathered with violence and with injustice, if you think
of picking cotton.
And it goes on all the way to the end of the life cycle of garments to the idea of waste
that sometimes Western societies saddle Eastern and Southern societies with.
So it's a whole world, a whole universe of issues and of possibilities, and of responsibilities
that people should make as their own when they decide to wear a particular garment.
If you want to find out more about the white t-shirt, about the Savile Row suit,
about the designers behind the items and about the circumstances around them, please go on
the Coursera platform.
We have produced a whole online course that is called "Fashion as Design."
And if you want to see more videos like this, subscribe to the MoMA YouTube channel.
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ALEXANDRA WESTFAL / KATANA BOUTIQUE / STYLE & 2018 FASHION TRENDS - Duration: 4:58.
Every designer has their own handwriting -
let's call it this way
what are the key characteristics of
collections by ALEXANDRA WESTFAL?
Absolutely all collections by ALEXANDRA WESTFAL
are characterized by the color
either it is monochrome or very calm shades.
Where do You find Your inspiration?
I find my inspiration in all that surrounds me,
most likely because I am very
curious what is happening
around me.
This is where I find my inspiration!
The Season's celebrations are very close
The season's celebrations are very close
and all girls are busy looking for the perfect outfit.
What would You suggest to wear on the most magical
night of the Year?
I would suggest wearing outfit,
which makes You feel special,
because New Year's Night is a special time
when all wishes come true!
Do You know what will You
be wearing on the New Year's Eve?
I have no clue at this time
as for me it is always in the last moment!
The rhythm of life of modern girls
is very busy
and often happens that
right after work You have to attend an event
wether it is a presentation, exhibition or theatre
most likely these situations happen to You, too?
Time to time!
What is Your life hack for such situations?
What can be worn already in the morning,
so that it is appropriate for Evening Event Look?
Or how to spend less time on
a fast look makeover?
Life Hack is to take the
high heels with You
Bright statement jewelry,
if the looks allows, for example,
red lipstick
and a good mood!
Suggest from Your collection what can be worn on a New Year's Night!
Three oprions: mini, midi, maxi, that means that
You can start to dress up already in the morning!
For example can start with mini
dress with a lace detailing, which accents
the nice looking legs
and the chest area.
or let's take the
dress which is made from two different fabrics
for more brave, probably,
because it opens up the back more
and here is the very evening appropriate attire option
long maxi gown option
silk and floaty dress
with a collar
and organza details
very effective as well
in this dress it will be comfortable not only to drink champagne
chatting with Your girlfriends about New Year's wishes
but is comfortable to dance in it, too!
Designers know about the newest fashion trends first hand.
Can You open up a secret and tell us a few
most important pieces of wardrobe, which will be
the absolute must have essentials
of the season Spring/Summer 2018?
These will be the basic items which are must have's
and would have to be in the wardrobe of
of every woman
which is a trench coat
straight cigarette pants
turtleneck
and the denim is returning back again
but denim as a fabric
not necessarily jeans
it can be the same trench coat,
made from denim fabric,
it can be a jumpsuit,
those can be skirts
and I would like to remind that denim does not have to be blue,
but it can be any color!
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Fashion has a pollution problem -- can biology fix it? | Natsai Audrey Chieza - Duration: 13:15.
You're watching the life cycle of a Streptomyces coelicolor.
It's a strain of bacteria that's found in the soil
where it lives in a community with other organisms,
decomposing organic matter.
Coelicolor is a beautiful organism.
A powerhouse for synthesizing organic chemical compounds.
It produces an antibiotic called actinorhodin,
which ranges in color from blue to pink and purple,
depending on the acidity of its environment.
That it produces these pigment molecules sparked my curiosity
and led me to collaborate closely with coelicolor.
It is an unlikely partnership,
but it's one that completely transformed my practice as a materials designer.
From it, I understood how nature was going to completely revolutionize
how we design and build our environments,
and that organisms like coelicolor
were going to help us grow our material future.
So what's wrong with things as they are?
Well, for the last century,
we've organized ourselves around fossil fuels,
arguably, the most valuable material system we have ever known.
We are tethered to this resource, and we've crafted a dependency on it
that defines our identities, cultures, our ways of making and our economies.
But our fossil fuel-based activities are reshaping the earth
with a kind of violence that is capable of dramatically changing the climate,
of accelerating a loss of biodiversity
and even sustaining human conflict.
We're living in a world
where the denial of this dependence has become deadly.
And its reasons are multiple,
but they include the privilege of not being affected
and what I believe is a profound lack of imagination
about how else we could live
within the limits of this planet's boundaries.
Fossil fuels will one day give way to renewable energy.
That means we need to find new material systems
that are not petroleum-based.
I believe that those material systems will be biological,
but what matters is how we design and build them.
They mustn't perpetuate the destructive legacies of the oil age.
When you look at this image,
what do you see?
Well, I see a highly sophisticated biological system,
that through the use of enzymes,
can move and place atoms more quickly and precisely
than anything we've ever engineered.
And we know that it can do this at scale.
Nature has evolved over 3.8 billion years
to be able to do this,
but now through the use of synthetic biology,
an emerging scientific discipline
that seeks to customize this functionality of living systems,
we can now rapid prototype the assembly of DNA.
That means that we can engineer the kind of biological precision
that makes it possible to design a bacteria
that can recycle metal,
to grow fungi into furniture
and even sequester renewable energy from algae.
To think about how we might access this inherent brilliance of nature --
to build things from living things --
let's consider the biological process of fermentation.
I've come to think of fermentation, when harnessed by humans,
as an advanced technological toolkit for our survival.
When a solid or a liquid ferments,
it's chemically broken down by bacterial fungi.
The byproduct of this is what we value.
So for example, we add yeast to grapes to make wine.
Well in nature, these transformations are part of a complex network --
a continuous cycle that redistributes energy.
Fermentation gives rise to multispecies interactions
of bacteria and fungi,
plants, insects, animals and humans:
in other words, whole ecosystems.
We've known about these powerful microbial interactions
for thousands of years.
You can see how through the fermentation of grains,
vegetal matter and animal products,
all peoples and cultures of the world have domesticated microorganisms
to make the inedible edible.
And there's even evidence that as early as 350 AD,
people deliberately fermented foodstuffs that contained antibiotics.
The skeletal remains of some Sudanese Nubian
were found to contain significant deposits of tetracycline.
That's an antibiotic that we use in modern medicine today.
And nearly 1500 years later,
Alexander Fleming discovered the antimicrobial properties of mold.
And it was only through the industrialized fermentation of penicillin
that millions could survive infectious diseases.
Fermentation could once again play an important role
in our human development.
Could it represent a new mode of survival
if we harness it to completely change our industries?
I've worked in my creative career to develop new material systems
for the textile industry.
And while it is work that I love,
I cannot reconcile with the fact that the textile industry
is one of the most polluting in the world.
Most of the ecological harm caused by textile processing
occurs at the finishing and the dyeing stage.
Processing textiles requires huge amounts of water.
And since the oil age completely transformed the textile industry,
many of the materials
and the chemicals used to process them are petroleum based.
And so coupled with our insatiable appetite for fast fashion,
a huge amount of textile waste is ending up in landfill every year
because it remains notoriously difficult to recycle.
So again, contrast this with biology.
Evolved over 3.8 billion years,
to rapid prototype,
to recycle and to replenish
better than any system we've ever engineered.
I was inspired by this immense potential
and wanted to explore it through a seemingly simple question --
at the time.
If a bacteria produces a pigment,
how do we work with it to dye textiles?
Well, one of my favorite ways
is to grow Streptomyces coelicolor directly onto silk.
You can see how each colony produces pigment around its own territory.
Now, if you add many, many cells,
they generate enough dyestuff to saturate the entire cloth.
Now, the magical thing about dyeing textiles in this way --
this sort of direct fermentation
when you add the bacteria directly onto the silk --
is that to dye one t-shirt,
the bacteria survive on just 200 milliliters of water.
And you can see how this process generates very little runoff
and produces a colorfast pigment without the use of any chemicals.
So now you're thinking --
and you're thinking right --
an inherent problem associated with designing with a living system is:
How do you guide a medium that has a life force of its own?
Well, once you've established the baseline for cultivating Streptomyces
so that it consistently produces enough pigment,
you can turn to twisting, folding,
clamping, dipping, spraying,
submerging --
all of these begin to inform the aesthetics of coelicolor's activity.
And using them in a systematic way
enables us to be able to generate an organic pattern ...
a uniform dye ...
and even a graphic print.
Another problem is how to scale these artisanal methods of making
so that we can start to use them in industry.
When we talk about scale,
we consider two things in parallel:
scaling the biology,
and then scaling the tools and the processes
required to work with the biology.
If we can do this,
then we can move what happens on a petri dish
so that it can meet the human scale,
and then hopefully the architecture of our environments.
If Fleming were alive today,
this would definitely be a part of his toolkit.
You're looking at our current best guess
of how to scale biology.
It's a bioreactor;
a kind of microorganism brewery that contains yeasts
that have been engineered to produce specific commodity chemicals and compounds
like fragrances and flavors.
It's actually connected to a suite of automated hardware and software
that read in real time
and feed back to a design team the growth conditions of the microbe.
So we can use this system to model the growth characteristics
of an organism like coelicolor
to see how it would ferment at 50,000 liters.
I'm currently based at Ginkgo Bioworks,
which is a biotechnology startup in Boston.
I am working to see how their platform for scaling biology
interfaces with my artisanal methods of designing with bacteria for textiles.
We're doing things like engineering Streptomyces coelicolor
to see if it can produce more pigment.
And we're even looking at the tools for synthetic biology.
Tools that have been designed specifically to automate synthetic biology
to see how they could adapt to become tools to print and dye textiles.
I'm also leveraging digital fabrication,
because the tools that I need to work with Streptomyces coelicolor
don't actually exist.
So in this case --
in the last week actually,
I've just designed a petri dish
that is engineered to produce a bespoke print on a whole garment.
We're making lots of kimonos.
Here's the exciting thing:
I'm not alone.
There are others who are building capacity in this field,
like MycoWorks.
MycoWorks is a startup
that wants to replace animal leather with mushroom leather,
a versatile, high-performance material
that has applications beyond textiles and into product and architecture.
And Bolt Threads --
they've engineered a yeast to produce spider-silk protein
that can be spun into a highly programmable yarn.
So think water resistance,
stretchability and superstrength.
To reach economies of scale,
these kinds of startups are having to build and design
and engineer the infrastructure to work with biology.
For example,
Bolt Threads have had to engage in some extreme biomimicry.
To be able to spin the product this yeast creates into a yarn,
they've engineered a yarn-making machine
that mimics the physiological conditions
under which spiders ordinarily spin their own silk.
So you can start to see how imaginative
and inspiring modes of making exist in nature
that we can use to build capacity around new bio-based industries.
What we now have is the technology
to design, build, test and scale these capabilities.
At this present moment,
as we face the ecological crisis in front of us,
what we have to do is to determine
how we're going to build these new material systems
so that they don't mirror the damaging legacies of the oil age.
How we're going to distribute them to ensure a sustainable development
that is fair and equitable across the world.
And crucially, how we would like the regulatory and ethical frameworks
that govern these technologies
to interact with our society.
Biotechnology is going to touch every part of our lived experience.
It is living;
it is digital;
it is designed, and it can be crafted.
This is a material future that we must be bold enough to shape.
Thank you.
(Applause)
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50 Ridiculously Gorgeous Celebrity Fashion Moments From 2017 (Part 2) - Duration: 13:31.
50 Ridiculously Gorgeous Celebrity Fashion Moments From 2017 (Part 2)
On the red carpet, ghastly mistakes are outnumbered only by all the forgettable looks.
But when a star shows up in the perfect outfit — like, say, Millie Bobby Brown's stunning number at the Emmys — it's a moment like no other.
26. Kelsea Ballerini
The country star brought disco back in a sparkling Pamella Roland jumpsuit for Marchs iHeartRadio Music Awards.
27. Kendall Jenner
Jenner paired everyday denim shorts with a bold Alexandre Vauthier Haute Couture top at May's Fashion for Relief Gala.
28. Kim Kardashian West
At Tom Ford's New York Fashion Week show in September, Kardashian showed off her curves in an ankle-length latex dress that was extremely her.
29. Kristen Stewart
Stewart hit the Chanel Haute Couture show in July rocking a cropped, sequined jumpsuit.
30. Laverne Cox
The always glamorous Orange is the New Black star wore an emerald August Getty wrap dress to an August taping of America's Got Talent.
31. Leslie Jones
The Saturday Night Live star sparkled in a sheer Christian Siriano gown at the Emmys in September.
32. Maren Morris
Morris chopped off her hair for a striking new look at the Academy of Country Music Awards in April, made all the better with a flowy, teal Michael Costello gown.
33. Michelle Obama
At the ESPY Awards in July, the former FLOTUS looked incredible in a sleek Cushnie et Ochs LBD, which she complemented with a pair of Gianvito Rossi power pumps.
34. Millie Bobby Brown
The Stranger Things star's tea-length Calvin Klein by Appointment dress at the Emmys in September solidified her status as fashion's newest "It" girl.
35. Mindy Kaling
Kaling was all about flower power in this Naeem Khan gown she wore to Vanity Fairs Oscar Party in February.
36. Naomie Harris
The Moonlight nominee stunned at the Oscars in February with a white sequin Calvin Klein by Appointment dress, which she accented with yellow suede sandals for an intriguing pop of color.
37. Nicole Kidman
Kidman celebrated Emmys night in September in a vivid red A-line dress from Calvin Klein by Appointment.
38. Paris Jackson
MJ's daughter walked the Grammys red carpet in February wearing a glittery, yet muted rainbow Balmain jumpsuit.
39. Priyanka Chopra
Looks don't get much more dramatic than the Ralph Lauren trench dress with an endless train that Chopra donned for Mays Met Gala.
40. Rachel Platten
The "Fight Song" singer's colorful Barbara Bui minidress at May's Billboard Music Awards recalled a mosaic.
41. Regina Hall
At the July premiere of her movie Girls Trip, Hall shined in a Tadashi Shoji gown with a slit that revealed sexy black lace.
42. Rihanna
RiRi wore a voluminous Oscar de la Renta two-piece ensemble for the September launch of her Fenty Beauty line.
43. Ruth Negga
The Loving star flaunted a sort-of deconstructed rainbow on an unforgettable Oscar de la Renta dress for the Vanity Fair Oscar Party in February.
44. Samira Wiley
For the Tribeca Film Festival premiere of The Handmaid's Tale in April, Wiley sported enchanting separates that took cues from land and water.
45. Solange
Solange shimmered in a gold Gucci gown with peplum and a statement sleeve at the Grammys in February.
46. Tessa Thompson
Thompson was a shimmery rainbow dream in this Rosie Assoulin halter dress at September's Emmys.
47. Viola Davis
Davis kept it classic to great effect in a sunny, one-shouldered Michael Kors gown for Januarys Golden Globes.
48. Yara Shahidi
The Black-ish star was a standout at August's VMAs in an opulent gold silk Zimmermann dress.
49. Zendaya
Red and green together shouldn't work in June, but Zendaya made it look effortlessly cool with a Delpozo sweater and pants at a Barcelona photo call for her movie, Spider-Man: Homecoming.
50. Zoë Kravitz
Kravitz slayed in a simple, sexy Oscar de la Renta jumpsuit for the NYC premiere of her movie Rough Night in June.
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The Best Spring 2018 Fashion Campaigns - Duration: 8:43.
The Best Spring 2018 Fashion Campaigns
From supermodel castings to digital paintings, this seasons top fashion campaigns are pulling out all the stops.
Now that its officially time to usher in a new season of fashion, follow along as we track all the best ads for Spring 2018.
1. Gucci
Digital painting by Spanish artist and illustrator Ignasi Monreal.
2. Gucci
Digital painting by Spanish artist and illustrator Ignasi Monreal.
3. Gucci
Digital painting by Spanish artist and illustrator Ignasi Monreal.
4. Coach
Photographer: Steven Meisel.
5. Versace
Model: Naomi Campbell.
Photographer: Steven Meisel.
6. Versace
Model: Christy Turlington.
Photographer: Steven Meisel.
7. Versace
Model: Kaia Gerber.
Photographer: Steven Meisel.
8. Versace
Model: Gisele Bündchen.
Photographer: Steven Meisel.
9. Alberta Ferretti
Models: Vittoria Ceretti, Cara Taylor, Binx Walton.
Photographer: Mario Sorrenti.
10. Alberta Ferretti
Models: Vittoria Ceretti, Cara Taylor, Binx Walton.
Photographer: Mario Sorrenti.
11. Proenza Schouler
Model: Mariacarla Boscono.
Photographer: Tyrone Lebon.
12. Model: Mariacarla Boscono
Photographer: Tyrone Lebon.
-------------------------------------------
50 Ridiculously Gorgeous Celebrity Fashion Moments From 2017 (Part 1) - Duration: 14:01.
50 Ridiculously Gorgeous Celebrity Fashion Moments From 2017 (Part 1)
On the red carpet, ghastly mistakes are outnumbered only by all the forgettable looks.
But when a star shows up in the perfect outfit — like, say, Millie Bobby Brown's stunning number at the Emmys — it's a moment like no other.
1. Adele
For her big night at the Grammys in February, Adele stepped out in a military green Givenchy gown, accented with a bespoke Lorraine Schwartz brooch.
2. Alessandra Ambrosio
The Victoria's Secret model strutted her stuff in a Balmain collared minidress and matching legging boots at August's MTV Video Music Awards.
3. Ashley Graham
The supermodel wore a sheer Marina Rinaldi dress to Harper's Bazaars Women of the Year Awards in November.
4. Ava DuVernay
The director said she chose this gown from the Lebanese brand Ashi Studio for February's Oscars because she wanted to "wear something by a designer from a majority Muslim country" following Donald Trump's travel ban.
5. Bella Hadid
Hadid's beige illusion Ralph & Russo gown stole the show at May's amfAR Gala at the Cannes Film Festival.
6. Beyoncé
Queen Bey wore a custom emerald Walter Mendez gown to the Tidal x Brooklyn concert in October — and only she could pull off pairing it with that purple stole.
7. Blake Lively
Lively took flight at the Met Gala in May with a plunging Versace number that featured a train of blue feathers.
8. Brie Larson
The soon-to-be Captain Marvel sizzled in red-hot Rodarte at the Golden Globes in January.
9. Cara Delevingne
Delevingne went full futuristic at May's Met Gala in a brocade Chanel pantsuit with her buzzed head painted silver.
10. Cardi B
The "Bodak Yellow" singer wore an enormous robin's-egg blue Christian Siriano ballgown to Rihanna's Diamond Ball in September.
11. Carrie Underwood
The country superstar shimmered in a LaBourjoisie dress featuring a choker collar and train of tulle at the Academy of Country Music Awards in April.
12. Cate Blanchett
At an April celebration for Louis Vuitton's Masters collection, Blanchett did monochromatic right in a pair of the label's cigarette pants and a vest cinched with a belt.
13. Celine Dion
The list of Dion's standout style moments goes on and on, but this emerald Zuhair Murad gown from February's Grammys is at the top.
14. Charli XCX
At Variety's Power of Young Hollywood event in August, Charli looked extra fancy in House of Holland separates that — look closely! — feature a whole lotta Woody Woodpeckers.
15. Emma Stone
On the February night she took home her first Oscar, Stone made a statement in gold Givenchy Haute Couture, complete with a fringe skirt covered in Swarovski crystals.
16. Emma Watson
Watson was the Belle of the ball in a caped Emilia Wickstead gown at a London launch event for Beauty and the Beast in February.
17. Evan Rachel Wood
The Westworld star rocked an Altuzarra silk pantsuit at January's Golden Globes.
18. Fifth Harmony
The ladies of Fifth Harmony glammed up in cohesive, yet not matchy-matchy, looks for the VMAs in August.
Dinah Jane wore Roberto Cavalli, Ally Brooke donned Reem Acra, Normani Kordei slipped into LaBourjoisie, and Lauren Jauregui opted for Cushnie et Ochs.
19. Gal Gadot
The Wonder Woman star mesmerized at August's VMAs in a Prabal Gurung sheath.
20. Gigi Hadid
At May's Met Gala, Hadid took asymmetrical to the extreme in a Tommy Hilfiger dress that formed a mini on her right and a gown on her left.
21. Hailee Steinfeld
Steinfeld floated into January's Golden Globes wearing a custom lavender Vera Wang gown that was ethereal AF.
22. Issa Rae
The Insecure creator wore this colorful knit Balmain blazer to the BET Awards in June.
23. Janelle Monáe
The queen of jaw-dropping black-and-white looks, Monáe stunned in a Christian Siriano jumpsuit at June's CFDA Awards.
24. Jennifer Lopez
Lo went for her signature plunging neckline in a stunning Julien MacDonald dress at the Billboard Latin Music Awards in April.
25. Kate Bosworth
Bosworth's J.
Mendel gown at the Vanity Fair Oscar Party in February had tulle for days.
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