Celeste Amarilla:
"This brute hasn't even learned to write. Instead of breastmilk, he grew up sucking on coconuts, and the most educated creatures he ever heard were chimpanzees.
You should've given him the middle finger, Orlando Gill (Paraguay GK).
A colonized Cameroonian, pretending to be French, resentful, newly rich, arrogant, and ugly.
He was nervous and scared to death all game, like his whole team. They didn't even manage to score a single goal, until they got lucky with a penalty.
The only thing many of us blame the team for is not giving him a full-handed slap at the end of the game. I'm not even a football fan."
Kylian Mbappé response:
"Madame Celeste Amarilla,
You are a despicable woman and unworthy of your position.
You do not represent Paraguay, that country which has sweated passion and honor throughout the competition. Through your recklessness and your brazen racism, the entire world has already forgotten the journey and the historic effort that your players accomplished during this World Cup, making way for an incompetent woman who gives the worst possible image of her country.
I will never allow people like her the freedom to spread their hatred and racism across the world."
Couture has always transformed the ordinary into the extraordinary. Here, that transformation asked us to think beyond “noble” materials, asking whether beauty resides in the material itself—or in the imagination capable of reinventing it. We paired haute couture techniques with synthetic materials: instead of the traditional silks, satins, and wools, we instead used latex, silicone, pools of paint baked into sheets and sculpted into silhouettes.
We also pushed back against some of the house staples, because codes—as beloved as they are—aren’t meant to be static.
Elsa herself strongly believed that the familiar should be made unfamiliar. Which is why, for example, the iconic Schiaparelli jacket is treated here as an accessory: embroidered and detailed and meant to enhance the overall outfit. We worked hard to develop new fabrications and materials, ones never before seen in couture. A dress’s hyper-realistic bustier isn’t molded, but instead sculpted before being cast in silicone and painted a milky blue; the skirt’s floral motif is made of hundreds of flowers rendered from hosiery stretched on metal wires and pearls—the colors ombré from cornflower blue to a caramel meant to fade into the tights worn beneath. Another dress bristles with weightless sculpted crinoline tubes. A jacket and matching pair of leggings are encrusted with real flowers, fish scales, and ribbon flowers, while from the shoulders scroll kinetic latex tentacles. And of course, none of this experimentation would have been possible without the extraordinary artisans who work in our ateliers. Their expertise is what gives us the freedom to venture into the unknown in the first place. They remind me that couture’s greatest luxury isn’t its materiality, but the hands that make it.
We also experimented with color this season, concentrating on tones found in flora and sea fauna: lobster pink, violet, tangerine, saffron, and pale mint—all set against a backdrop of high gloss black, raw wax ecru, and shots of our iconic Schiaparelli gold. Gold, at this house, isn’t just a finish—it’s something more akin to sculpture: a material that transforms the body into an object that’s at once ornament, armor, and art.
This collision of lightness and kink extends to the accessories as well: versions of our Secret bag are alive with crinoline spikes or embroidered flowers, and our new shoe, The Bubble, an alien metallic shape, is fitted with a silicone sleeve. These same themes—a love of nature; a fascination with the atypical—is found in our jewelry as well, which includes gold-plated shell earrings, their insides blush-pink porcelain; gold earrings, bracelets, and necklaces shaped like writhing octopus tentacles; and a silicone choker and cuff meant to recall sea anemones.
The process reminded me that while we talk about how couture is something to master, we don’t really think about what true mastery actually means. Is it about being brave enough to create in a space of not knowing? Of being able to take flight, and knowing that the net will appear beneath you? Perhaps this is Elsa’s greatest legacy: not a vocabulary of symbols, but the belief that impossibility itself can become a creative method.
Ted Cruz thanked Trump, in the Oval Office, for getting rid of that "ridiculous" red card: "There was a reason the FIFA trophy sat here for as long as it did!"
...and Trump seems to agree and like it.
This is now beyond repair, official "acknowledgment" of interference in sports.🙁 My way or the highway... MAGA's are nuts.
The collection responds, in the language of couture, to the work of American sculptor Lynda Benglis.
Many of the artist’s works begin in two-dimensional materials that are transformed, through knotting, pleating or moulding, into three. The art of couture enacts a similar shift: fabric is given sculptural form, accentuated when worn. Jonathan Anderson takes this connection as a starting point for the collection, elaborating on the physical gestures of hand-plissé, knotting and draping.
Benglis’s longstanding relationship with Ahmedabad in Gujarat, India, informs specific pieces. Her Peacock series, begun in the late 1970s and inspired by the birds she encountered whilst staying in Ahmedabad, are interpreted in brightly-coloured floral and beaded embellishments.
Anderson’s research into this body of work led him to focus on Indian craft itself: specifically, the 18th-century tradition of chintz. These finely-woven cottons, typically hand-painted or block-printed, had a profound and lasting impact on European decorative arts. Antique fragments of chintz and indiennes, sourced from a specialist dealer, adorn Petit Dîner and mini Lady Dior bags.
The Ahmedabad landscape prompts a new line of enquiry for Anderson’s lab-as-couture: interested in the idea of contrasting environments, he juxtaposes its relative abundance with the arid climate and crystalline air of Santa Fe, New Mexico, where Benglis keeps a home and studio. The floral aspects of the collection, as well as its chromatic articulation, evoke these two landscapes.