Bella Thorne Stuns In Embellished, Sheer Dress For Pre-Oscars Lunch

Bella Thorne 16, has showed us diamonds really are a girl’s best friend! The young star has been on our radar all year for looking oh-so-good and sporting the latest fashion trends. At Sally Morrison & LoveGold’s celebration honoring Lupita Nyong’o at the Chateau Marmont on Feb. 26, the glitzy star sparkled as she stepped out on the red carpet looking so fab in another flawless look.

Bella Thorne’s Dress For Pre-Oscars Lunch Honoring Lupita Nyong’o:

The pleated dress by House of Ronald was decorated with a diamond pattern on the skirt and showed off a little bit of skin thanks to the sheer, illusion detailing at the waist, back, and neckline. The gorgeous diamond detailing on the shoulders of the dress caught our eyes! Bella was blinding us on the carpet as her diamonds perfectly caught the light and made the star shine — especially when she turned around. The colored jewels made the dress look so elegant and chic and we are obsessed with the fun, colorful vibe that kept it all so fresh and modern for the teen.

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The bright coral hue really popped on Bella’s soft, porcelain skin. The star added a little gold to the glitzy ensemble by showing off a bronze pair of strappy peep toes. She kept her makeup minimal, leading all of our attention to the sparkling diamonds on her dress, and swept her signature red locks up into a loose updo that complimented the sensual, feminine look of the ensemble and showcased the fabulous criss-crossed jeweled detailing on the back of the dress.

This look was so age appropriate and totally perfect for the pre-Oscar lunch — and we can’t wait to see what she rocks to all the parties this weekend!

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Bored of your hairstyle? Try bangs!

Celebrities have often started fashion and beauty trends! When they sport a look, it becomes a style statement which many blindly follow even if it doesn’t suit them. Recently, actress Eva Longoria, known for long, caramel-highlighted locks, opted for bangs to get a different look. The ‘Desperate Housewives’ star’s new fringes give her a youthful and bohemian vibe. Her bangs are long enough to touch her eyebrows.

The cut can easily make her wear her hair straight or wavy. She also got a few inches trimmed off the bottom of her long tresses, further adding to the more low-key and low-maintenance vibe.

If you too wish to get bangs, you need to remember — choose one according to your face type. Hairstylist Asgar Saboo explains the different kinds of fringes which suit different face shapes.

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Round Face – If you have a round face, you should try wispy bangs or side-swept fringes for balance, and to avoid adding a wider appearance to the face. Stay away from blunt bang shapes. Instead, try a layered, side-swept fringe that softens your strong jawline and focusesattention on your eyes.

Heart-shaped Face – Heart-shaped faces are wider at the brow and narrower at the chin, which typically adds up to attractive cheekbones. Soft, side-swept bangs accentuate your eyes and draw the focus away from a pointy chin. Ask your stylist to trim bangs vertically, rather than straight across, and to stop between the eyelids and the brows.

Long or Oblong Face – For longer or oblong faces, and those with high foreheads, bangs that are blunt, heavy or long will flatter your face shape and help to cut down on length. Ask for bangs that hit between the brow and the eyelash and are longer on the edges.

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Zoe Kravitz On Divergent, Dating, and More

The 25-year-old daughter of Lenny Kravitz and Lisa Bonet has entered the family business. This month Kravitz appears in Divergent, the first film based on the wildly popular Veronica Roth trilogy of young-adult novels, and next year she's in for an apocalyptic road trip in Mad Max: Fury Road. But she is more than the sum of her parents:

Tell us about your character in Divergent. "She kind of has foot-in-mouth syndrome. She says whatever comes to mind."

Are you at all like that? "Yes. I will always play the obnoxious girl."

Are you attracted to action movies? "When I think of girls in superhero films, I think of girls that I don't look like. But that's changing a bit, which is awesome. And they're really fun to make, honestly."

You told Jimmy Fallon that your father behaves like a Jewish mother. Still the case? "Yeah, it is. He's very proud and very excited whenever I do anything. He takes pictures and asks questions. It's very sweet."

For your band, how did you come up with the name Lolawolf? "It's my brother's and sister's names put together. They're 4 and 5."

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And your music? "It's turned out to be some kind of 80s pop."

How would you describe your style? "I'm into a 70s feel right now. I've been wearing a lot of blues, bell-bottoms, sweatshirts, and stuff, kind of like Jodie Foster in Freaky Friday. I go to a lot of vintage stores, a lot of flea markets. I love finding one-of-a-kind treasures."

Do you have any of your dad's boas from the 80s? "Yeah, I do. They're beautiful. They're all in my apartment."

You've been linked romantically to Drake. You've dated Penn Badgley, and Michael Fassbender before that. Is it odd not being able to go on a date without the world knowing? "Yeah. I don't like it. It's bizarre to me that people spend so much time talking about other people they don't even know. There's a lot more stuff to pay attention to rather than who I'm going to dinner with."

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Erin Kleinberg Goes Back to the Basics

Erin Kleinberg isn’t a newcomer. In fact, you’ve probably already heard her name or seen her photo or browsed her addictive site The Coveteur, the blog-turned-business in which Kleinberg and cofounder Stephanie Mark photograph the closets and homes of international style influencers. But long before she reached global blogger fame, Kleinberg was an on-the-rise designer. (Her first collection launched back in 2008.) With a focus on easy silhouettes and luxe fabrics, Kleinberg quickly built up a client list that included Barneys, Holt Renfrew, Nordstrom, and Harvey Nichols. But in 2011, in order to focus on The Coveteur, she took a break from designing. However, turning her attention toward the industry’s best wardrobes turned out to be a brilliant strategy. “After exploring more than 400 tastemakers’ closets, I feel like I have conducted some real market research. I’ve seen it all,” Kleinberg told. “My takeaway is that women want to live an edited life. Maybe their closet is stocked, but there’s a rack in their bedroom with their edits. That’s where I want to be—designing the staples you can’t live without.”

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So, after a few years’ hiatus, Kleinberg is back in the saddle with a Fall ’14 collection made up of just that: chic, understated, everyday staples. A first look at the lineup debuts exclusively here. “When we’re shooting for The Coveteur, I always find that women are so proud of their designer purchases, but at the end of the day they can’t wait to put on their favorite sweater or loose cardigan. I love that,” Kleinberg said. She refers to her polished, fuss-free collection as “comfort meets luxe.” She kept shapes and patterns minimal, instead focusing on fabrics and other little details: perfect fits, French seams, and zippers. One look plays with proportions, pairing an oversize cardigan with a mini dress and thigh-highs. Elsewhere, Kleinberg layered long, loose tees over midi skirts or tucked silky tanks into distressed jeans. The main pop of color came from a red and black buffalo-check coat.

“I feel like the inside of my head looks like the world of Carlyne Cerf de Dudzeele or Iris Apfel, but what I wear exudes a more calm and easygoing vibe,” Kleinberg said. “The Erin Kleinberg girl isn’t a fashion obsessive; she cares about culture and art, she doesn’t wear much makeup. She’s kind of a mix between a Parisian cool girl and a downtown New Yorker.” Word on the street is that a few key retailers have already picked up the line—and we can’t say we’re surprised. After all, who wouldn’t want to look like Kleinberg’s nonchalant Fall chick?

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The Morning After: Our EIC Recaps Yesterday’s Action

RODARTE

Breakfast with my colleague Maya to go over the lineup for the next issue of Style, which we put together while simultaneously covering the shows on the site and publish within a month of the close of Paris fashion week, a live-broadcast approach to making a magazine. Then it was off to the Rodarte show. Last season’s collection got slated, though I sort of liked its trashy energy. This one had more of the Mulleavy sisters’ customary handcrafted offbeat charm and should be a hit with their fans. After that it was on to Diesel Black Gold on the West Side, and then a meeting on the East Side with a European luxury house, who filled me in on its plans for a huge event later this spring.

MBMJ

Tons of energy and lots of food for thought at Marc by Marc Jacobs, which has been rechristened by its initials and is now in the hands of the London-based duo of Luella Bartley and Katie Hillier. Something about the scale of the plywood set and the refracted references here made me think I could have been at a show in Paris. There was an intriguing magpie quality to the clothes, as if you were moving through the racks of Dover Street Market from the Japanese designer section to the sophisticated European section to the streetwear section. My favorite grouping was the BMX-inspired looks. The show was a bona fide smash with the audience. It’ll be interesting to see how the aesthetic, a break from the line’s more insouciant past, plays at retail. Delphine Arnault, of the parent group LVMH, was looking on from the front row.

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ANDRE WALKER

Talking of Dover Street Market, I ran into the new Comme des Garçons-operated, multiretailer space on Lexington Avenue to say hello to Andre Walker. Walker is the first to describe himself as an “elusive” designer, and after a few stops and starts, he’s back with a small line, thanks to the encouragement of DSM’s Adrian Joffe and Rei Kawakubo. You’ll find it on the seventh floor between Junya Watanabe and Prada, an indication of the esteem Kawakubo has for Walker.

NARCISO RODRIGUEZ

Every season, there are a couple of models who break through and start popping up in all the big shows so that you can trace the day’s development through their changing hairstyles and runway attitudes. This season, those models are Binx Walton and Anna Ewers, who in the space of a few hours went from Bolshevik ninja at MBMJ to sleek gallerina at the serenely beautiful Narciso Rodriguez show that closed another day of New York fashion week.

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Manolo Blahnik’s Cinematic Fall 2014 Collection

“I came yesterday from Chicago,” said Manolo Blahnik from the tiny upstairs landing at Paul Kasmin Gallery, a light-washed West Chelsea gallery space (for New Yorkers: It’s the ex-home of the nightclub Bungalow 8). “Here feels like paradise compared to there—it’s exotic, it’s practically Miami!”

Bitter cold city-hopping notwithstanding, Blahnik’s Fall 2014 collection—presented for the first time on the New York Fashion Week calendar—is cozy and lush, replete with such prompts as filmic nineteenth-century embroideries (“I’m mad about the time—mad about the literature, everything!” the designer said), Aubrey Beardsley swirls, King Philip II’s bed-trim tassels, “a bit of Oscar Wilde,” Etruscan sandals, and much, much more. There’s also a distinct bloodline of craft, edging on couture-like sensibility: One bottine, built of shocking pink satin, with hand-sewn crystals, has to be reformatted for every increase in half-size, so that those crystals can fit.

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The lineup’s reina, though, is an elaborate and daring mule, finely threaded in burgundy and emerald hues. “This is the glory of Salamanca,” said Blahnik, proudly. “This is as Spanish as you can get!” The shoe takes its cues from churchgoers’ Sunday best in and around the region.

Blahnik produced four short films with one of his “oldest friends,” Michael Roberts, to accompany the showcase and complement his designs. These range from a mini-biopic of a young Manolo, making foil booties for reptiles in the Canary Islands as a boy, to a full-fledged fantasy story about a Victorian-era ghost, haunting the English countryside.

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Fashion Blogger Susie Bubble Makes a Case in Defense of Street Style

Fashion Week, at present, has been declared a “circus.” Street-style photographers, where once there were two or three, have multiplied into an often-indistinguishable paparazzi mob. Charges of “peacocking” or, to go with the circus analogy, “clowning around” have been levied against those that are deemed overdressed to deliberately bait the street-style paps. Then there are the accusations that outfits are constructed out of unattainable samples or displaying disingenuous style. It all boils down to one thing: Street style isn’t “real” anymore. Whatever “real” means.

But who is presiding over this council of stern judgment that decrees one outfit to be genuine or not? And what exactly is wrong with showcasing the more outré side of your personal style during Fashion Week—a time when we are all present to celebrate the most outré and directional collections that will shape our seasons? It’s always been a weird dichotomy for me that an industry that revels in the most avant garde of creations on the runway can then turn on those who dare to wear what we’re all lauding anyway. There’s one standard for a creative designer and another for “real” life, which apparently demands functionality and wearability. It’s why fashion-speak is peppered with vernacular such as “toned down,” “dressed down,” and “easy to wear.” Moreover, the criticism from within the industry comes from a general disdain for today’s look-at-me selfie-fueled culture at large.

Whilst trudging through the microcosm world of fashion shows, looked upon like a peacock or a clown, I can only think that beyond the industry’s judgmental eagle eye, the sea of change, brought on by street-style imagery and its subjects, is bigger than one can imagine.

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We have choice, and lots of it. Those who wish to express themselves through color (guilty), print (double guilty), genre clashing (triple guilty) can. The sources are sprawling—high fashion, high street, thrift, antique, Etsy, e-boutiques of independent designers from Tokyo to Mexico City. The connections are real, not virtual. Through my Instagram feed, I might find a designer who has tagged a picture with my handle and then order something from them within five minutes.

For the wearer, there’s sartorial pleasure in this mad mix, but for the consumer of the resulting street-style imagery, the routes of inspiration are endless. The most daring of Comme des Garçons pieces that seemed daunting on the runway are suddenly standing on the sidewalk, in a tangible context, might inspire someone to take a gander around Dover Street Market. A vintage kimono might mingle with Dries Van Noten’s take on chinoiserie and send someone on a merry hunt on eBay. The Prada spring 2014 collection, which was as loud as they come with its rainbows, embellishment, and face motifs, might spark DIY versions of painted-face dresses and cutoff tube socks by teenaged fashion junkies. A young designer, whose clothes happened to be snapped on a street-style It girl, suddenly picks up a stockist or two. The final destination of these street-style JPEGs aren’t desktops, blogs, Tumblrs, or social-media channels. It’s the moodboards of fashion designers and the wardrobes of fashion enthusiasts all around the world, and thus the dialogue becomes two-way.

The noise of a few grumbling industry insiders is merely distraction from the real conversation that is going on in this wider fashion landscape. It’s a conversation that keeps fashion, as ever, always changing and evolving.

Nordicana sale in London makes a killing from Scandinavian culture

Patterned knitwear and yellow fisherman jackets appeared en masse in a chilly warehouse in east London this weekend, as 2,500 fans of the Scandinavian crime genre attended Nordicana, a two-day convention dedicated to the culture of emotionally detached detectives investigating murders among minimalist furniture and grey skies.

Amid the stalls selling Killing merchandise, smoked salmon, vodka and Swedish onesies for children, the biggest draw of the weekend were screenings of the shocking final two episodes of bleak Swedish/Danishcrime drama The Bridge, which concluded its second series on Saturday night on BBC4.

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The show's co-stars Kim Bodnia and Sofia Helin, who play the lead detectives Martin Rohde and Saga Norén, fielded questions from a packed hall of fans. "No character has ever affected me in so many ways as Saga," said Helin of her character's uniquely direct style. "To have Saga on my shoulder, she helps me to think about facts in certain situations. She helps me." Bodnia, meanwhile, was full of praise for the BBC and British television: "It's amazing that you can find a place to be free and work. What you're doing out there is amazing."

There was more levity in a panel for the unlikely hit political dramaBorgen about the intricacies of Danish coalition government, which brought together actors Sidse Babett Knudsen and Pilou Asbaek - who played prime minister Birgitte Nyborg and her spin doctor Kasper Juul. . There was an implication from Knudsen, by way of an exaggerated nod, that she had been asked to run for political office in real life, and she expanded on her previous comments that Tony Blair had worked his way into her portrayal of Birgitte Nyborg during the final season. "The only thing that really inspired me about Tony Blair was that he became that character he was playing, that you could see from miles away."

Asbaek revealed that the show's producer Camilla Hammerich was forced to write his broken knee into the script after a footballing accident, and simply reused, word for word, the real-life dressing down she had given him. "Oh my god, I could have killed him!" exclaimed Hammerich. A number of viewers have interpreted this injury as a comment on the Danish healthcare system.

Danish broadcasters DR, who made Borgen and The Killing, used the convention to air the first UK screening of its big new drama The Legacy, a dense family drama about the division of an estate. The series was recently bought up by Sky Arts.

Alex Ayran, who runs the Nordic Noir DVD distribution chain and organised the event, seemed pleased at the success of Nordicana, which is the second such convention and follows a smaller debut last summer. "The interest of the British public in Scandinavian crime fiction, food, design, culture, is absolutely huge," he explains, adding that he was not surprised that the first day proved a sellout. He believes its popularity is down to the sheer quality of Scandinavian output. "The TV shows are so good, so intriguing, that it's almost otherworldly."

In addition to the screenings and celebrity panels, entry (£40 for the weekend or £25 for a single day) gave access to more niche offerings. In A Great Scandinavian Cinnamon Bun-Off, the composer of Borgen's theme tune tasted a selection of cinnamon buns, while Eat Like a Scandi revealed the secrets of Scandinavian cooking. There was also a so-called expo room in which visitors could take a break from murder plots and leaden skies to explore some of Scandinavia's happier output and Nordicana merchandise (a Keep Calm and Watch The Killing T-shirt will set you back £15). One of the stallholders, Stacey, said that in addition to The Bridge and Borgen DVDs, her most popular items were teatowels and tote bags, both of which bear the Nordicana 2014 name and a pattern akin to Sara Lund's infamous Faroe-style knit. But as Saturday reached an end, she said there had also been a big rush on fleece jackets.

"People have been complaining of the cold," she explained, which seemed rather apt.

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